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Confessions of Edward Day : a novel
2009
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Part I   My mother liked to say Freud should have been strangled in his crib. Not that she had ever read one line of the eminent psychoanalyst's writing or knew anything about his life and times. She probably thought he was a German; she might have gotten his actual dates wrong by half a century. She didn't know about the Oedipus complex or the mechanics of repression, but she knew that when children turned out badly, when they were conflicted and miserable and did poorly in school, Freud blamed the mother. This was arrant nonsense, Mother declared. Children turned out the way they turned out and mothers were as surprised as anyone else. Her own strategy for child rearing had been to show no interest at all in how her children turned out, so how could she be held responsible for them?   Proof of Mother's assertions might be found in the relatively normal men her four sons grew to be, not a pervert or a criminal among us, though my oldest brother, Claude, a dentist, has always shown far too much interest in crime fiction of the most violent and degraded sort, and my profession, while honest, is doubtless, in some quarters, suspect. For the other two, Mother got her doctor and lawyer, the only two professions her generation ever recommended. My brothers' specialties have the additional benefit of being banal: the doctor is a urologist and the lawyer handles real estate closings.   My mother was a tall, beautiful woman, with dark hair, fair skin, an elegant long neck, and excellent posture. She was poorly educated and, as a young mother, intensely practical. My father had various jobs in the civil service in Stamford; his moves were sometimes lateral, occasionally up. She hardly seemed to notice him when we were around, but there must have been some spark between them. She had her sons in sets, the first two a year apart, a five-year lapse, and then two more. I was the last, her last effort--this was understood by all--to have a girl.   Even if Freud hadn't encouraged me to, I think I would still have to blame Mother for my craving to be someone else, and not only because she wasn't satisfied with who I am, though she wasn't, not from the start. My middle name is Leslie and that's what I was called at home; I became Edward when I went away to boarding school in Massachusetts. Mother had "gender issues," but none of us realized how serious they were until after she died. This mournful event took place when I was nineteen, a freshman at the University of North Carolina, and it was preceded by a seismic upheaval that lasted six months, during which time Mother left my father for a woman named Helen, who was ten years her junior and bent on destruction.   Mother wasn't naturally a warm person--I know that now--and she must have been lonely and frustrated for years, surrounded from dawn to dark, as she was, by the unlovely spectacle of maleness. A frequent expression upon entering a room in which her sons were engaged in some rude or rowdy masculine behavior was "Why are boys so . . ." As the youngest, I took this to heart and tried to please her, not without some success. I kept my corner of the bedroom spotless, made my bed with the strict hospital corners she used on her own, rinsed my dishes at the sink after the pot roast, meat loaf, or fried chicken dinner, and expressed an interest in being read to. I wasn't picky about the stories, either; tales of girlish heroism were fine with me, hence my acquaintance with the adventures of such heroines as Nancy Drew, the Dana Girls, and all the travails of the shrewdly observant Laura in the Little House books. I know, as few men do, my fairy tales, from Rumpelstiltskin to the Little Goose Girl, stories certainly grisly enough to terrify even a stalwart little boy and which I take to explain the surprisingly violent images that so often surface in the consciousness exercises of young actresses. Mother was a good re Excerpted from Confessions of Edward Day: A Novel by Valerie Martin All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.
Fiction/Biography Profile
Topics
Actors
Theater
Setting
New York - Mid-Atlantic States (U.S.)
Trade Reviews
New York Times Review
BECAUSE we bestow upon them our most profound acts of projection, actors incite extreme emotions: worship, envy, disdain and curiosity. The actor's efforts to preserve (and sometimes mummify) the instruments through which he examines truth - his own body and voice - may appear to us civilians as unbearable vanity. But even as we judge, we continue to seek the kind of revelation that only great acting can deliver. Valerie Martin's sort-of thriller, "The Confessions of Edward Day," is one of the best novels I've ever read about the actor's psyche. Edward is a struggling thespian in the rough and tumble New York of the 1970s, that decade when whole swatches of downtown were an urban wilderness, arugula was "as yet unheard of on our planet," and beer-soaked taverns like Jimmy Ray's and Phebe's were the everyday salons of American theater folk. Edward and his young friends all study with either Stella (Adler) or Sandy (Meisner). Their cultural touchstones are Shakespeare, Yale Rep and Playwrights Horizons. They are not so much insular as simply accepting that they belong to a special and ancient tribe, that they are destined to live life "illuminated by floodlights, enacted for the benefit of strangers." The ever observant and wry Edward intuits that "if we were successful the ordinary world would be closed to us, and if we failed, well, it would still be closed, but in a less agreeable way." Edward comes to New York trying to untangle the web of feelings left in the wake of his mother's suicide. He sees his vocation as "an egress from unbearable sorrow and guilt. My emotions," he notes, "were the strongest thing about me; they did battle with one another and I looked on, a helpless bystander," a position Edward sees as akin to that of the audience before the stage. This understanding helps make him a better actor. One eventful weekend while disporting with fellow actors on the Jersey Shore, Edward beds the beautiful Madeleine Delavergne. Later that night, savoring his conquest, he walks to the end of a pier, leans on a faulty railing and plummets to the sea Caught in an icy rip current, he loses his bearings and struggles mightily against death. Here, as is so often the case in her novels, Martin skillfully captures the stop-time drama of the human brain processing information while in extremis. Edward is somehow able to bark out "Help!" a few times and then has the good/bad luck to be rescued by the unsavory Guy Margate, another aspiring actor, who happens to be Edward's rival for Madeleine's affections. Guy is a better swimmer than Edward but is in every other way his inferior; he has a bizarre vibe, a "thin, mirthless laugh" and an unnerving manner of observing other people like "the dead gazing upon the living." Edward senses almost immediately that his rescuer will exact some kind of strange payment. In the Ripley-esque character of Guy, Martin introduces the sense of mounting menace she so enjoyably teased out in novels like "Property" (2003) and "Trespass" (2007), and in her collection "The Unfinished Novel and Other Stories" (2006). As in those books, Martin builds an ominous tension almost Hitchcockian in its trenchant and perverse knowledge about the human animal. (Guy is a disturbing and uninvited doppelganger, reminiscent of Bruno in "Strangers on a Train.") In a Martin universe, you know you're going to get hit and you know you can't possibly see from which angle the blow will come, but the novelist makes it dark fun to guess. Valerie Martin's near obscurity is a mystery to me now, but until two months ago, I knew her only vaguely as the author of the novel from which the lugubrious 1996 Julia Roberts vehicle "Mary Reilly" was adapted. In fact the novel "Mary Reilly" is so riveting, in a "Jane Eyre" kind of way, that when I misplaced it halfway through, I was in psychic pain until I located it again. Martin has written eight novels, three short-story collections and a biography of St. Francis. Perhaps she has failed to gain traction because each book is so different it becomes hard to categorize her. Still, Jane Smiley managed to build a name with a similarly diverse output; she was helped by winning the 1992 Pulitzer Prize for "A Thousand Acres." Martin has won the less cited Orange Prize, for "Property," a wholly original novel that examines the relationship between a plantation owner's unhappy wife and the slave she is given as a wedding present. Martin is like a great character actor who never calls attention to the flesh and blood behind the performance, whose art seems to require or at least contain a special kind of humility or perhaps even a desire to sidestep the limelight. "Edward Day" might finally bring Martin the recognition she deserves. Her previous novel, "Trespass," which explored a suburban woman's distrust of her son's refugee lover, was a richer book. But "Edward Day" has its deep pleasures, particularly in the ingenious way Martin probes the sensibility of an artist while using it as a prism through which to tell a tale. EDWARD DAY possesses a gimlet eye for both the contributions and the eternal follies of his profession. Actors' memoirs, he wickedly notes, are usually divided into two parts - "stirring tales of my youthful artistic suffering followed by charming profiles of all the famous people who admire me." Edward points out that actors are too narcissistic to make good narrators. "Katharine Hepburn got it right," he says, "when she titled her tiresome paean to herself simply 'Me.'" But Edward also demonstrates that an actor's wisdom can be an awesome thing. It is because he is an actor that Edward knows that "emotions succeed each other in sequences that are often inappropriate and counterintuitive" and that "this is what polite society was created to conceal." After he is saved from drowning by Guy Margate, Edward realizes there is one emotional sequence you will never find - humiliation followed by gratitude. "If politicians could only grasp this simple precept," he thinks, "the world would be a much more peaceful place." It's almost enough to make you believe that an actor should run the world. Wait, scratch that make it a novelist. The actors all study with either 'Stella' or 'Sandy'; their cultural touchstones are Shakespeare and Yale Rep. Laurie Winer is the former theater critic for The Los Angeles Times, and earlier reviewed theater for The Wall Street Journal and The New York Times.
Library Journal Review
This novel is mistitled. It strings together the memories of Edward Day, with gaps that make the narrative feel choppy. The story centers on being an actor in the 1970s, but details pertaining to the era and the profession are sorely lacking. The sex and drugs prominent in 1970s New York are never mentioned; homosexuality and AIDS are but only in relation to minor characters, and theater details such as auditions and rehearsals are glossed over. The focus is the love triangle among Edward, Madeline Delavergne, and Guy Margate, who supposedly resembles Edward and saves his life the same weekend Madeline and Edward fall in love. Edward then feels bound to Guy. Verdict This could have been interesting (think of Patricia Highsmith's The Talented Mr. Ripley), but it goes nowhere and lacks mystery and finesse. Throw in a murky Oedipus complex that never comes together, and the result is a quick, disappointing read. Not recommended.-Meredith Wittmann, Wisconsin Regional Lib. for Blind & Physically Handicapped, Milwaukee (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Publishers Weekly Review
Martin (Mary Reilly; Property ) adroitly plays with the boundary between reality and performance in her fluidly written new novel about a group of New York thespians in the 1970s and '80s. Aspiring actor Edward Day is the book's charismatic if self-centered narrator who begins his tale with reminiscences of his deceased mother, a woman whose "gender issues" left him confused and guilty, emotions he mines in his acting. During a New Jersey shore beach party with a group of ambitious fellow acting students including Edward's love, Madeleine, Edward falls into the ocean and is rescued by Guy Margate, who becomes his rival in love and in the theater. The tension and constantly shifting exchange of power between the two men as they battle for Madeleine's attentions and struggle with their careers propels the plot until the love triangle comes to a dramatic head. Guy is a slippery character, while Edward, in his search for truth in acting and in life makes a compelling fictional memoirist. Another winner for Martin, who never disappoints. (Aug.) (c) Copyright PWxyz, LLC. All rights reserved
Booklist Review
A weekend at the Jersey Shore brings two life-changing experiences to narrator and aspiring actor Edward Day. He has sex with beautiful Madeleine, a fellow acting student, for the first time. And when he falls off a pier, he is saved from drowning by Guy Margate. Thus begins an intense relationship not between Edward and Madeleine, but between Edward and Guy, who become bitter professional and romantic rivals. When Edward is too busy with summer stock (and a glamorous older actress who takes him under her wing) to pay much attention to Madeleine's accidental pregnancy, Guy again comes to the rescue and marries her. But as Edward's career takes off, Guy's spirals downward, and Edward and Madeleine engage in an intermittent affair. Everything comes to a head when both Edward and Madeleine are cast in a production of Uncle Vanya. This is a taut and psychologically penetrating drama, played out against a vivid backdrop of the New York theater world in the 1970s. The versatile Martin is also the author of Mary Reilly (1989) and Property (2003), among other novels.--Quinn, Mary Ellen Copyright 2009 Booklist
Kirkus Review
Actors have difficulty distinguishing performance from life in Martin's latest (Trespass, 2007, etc.). The title character, whose great secret is his unjustified sense of responsibility for his mother's suicide, begins his acting career in New York in 1974. During a weekend at the beach, Edward experiences two life-changing events: He seduces beautiful actress Madeleine Delavergne, and he is saved from drowning by aspiring actor Guy Margate. Not sure who is more bound to whom, Guy and Edward, who look somewhat alike, become lifelong competitors both as actors and as Madeleine's lovers. At first Guy gets the roles and good reviews, while Edward wins Madeleine. Then during a season away at a summer theater, Edward transforms himself as an actor and begins to find genuine success. But Guy and a pregnant Madeleine have married, supposedly for propriety's sake. Although Madeleine's pregnancy turns out to be ectopic, and although Edward and Madeleine fall into each other's arms almost as soon they run into each other, her marriage with Guy continues. Skip ahead six years. Guy has stopped acting, zealously devoting himself to Madeleine and her burgeoning career. She and Edward, who is also doing well, find themselves cast as lovers in Uncle Vanya. Offstage they are as attracted as ever, while Edward and Guy are mutually hostile. Then tragedy strikes. Much is made of the 1970s setting, but these characters seem to live in an earlier, more uptight decade. The arch narrative tone might be forgiven as purposely actor-ish if the plot didn't feel so forced. Occasional sharp insights, but the book is not as strong as some of Martin's previous efforts. Copyright Kirkus Reviews, used with permission.
Summary
Acclaimed author Valerie Martin returns with a dark comedy about love, sex, an actor's ambition, and the perils of playing a role too well. In this fictional memoir, Valerie Martin brilliantly re-creates the seamy theater world of 1970s New York, when rents were cheap, love was free, and nudity on stage was the latest craze. Edward Day, a talented and ambitious young actor finds his life forever altered during a weekend party on the Jersey Shore, where he seduces the delicious Madeleine Delavergne and is saved from drowning by the mysterious Guy Margate, a man who bears an eerie physical resemblance to Edward. Forever after, Edward is torn between his desire for Madeleine and his indebtedness to Guy, his rival in love and in art, on stage and off.
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