I should get tired of writing the phrase: This is a beautiful novel. But I cannot, not when it is a beautiful novel. Even if this 2013 work is not structured, as I prefer, chronologically. Even if it is not concerned with story. Even if it is concerned with just one person, its narrator, Marie, from when she is seven years old to when she is enduring the infirmities of old age.
But even more, I believe, this novel is concerned with life. As personified by Marie. Which is probably the reason for the title: Someone. Marie is someone, someone McDermott makes us concerned about. Not for what she is, as much as for what she experiences. Which is life.
Yes, she is plain and nearsighted. And when jilted by a supposed boy friend, she is near despair. ”Who’s going to love me?” she asks. And her kind brother Gabe answers: “Someone. Someone will.” And, yes, this gives the novel its title; but it is meant to do more, I believe. It is meant to give Marie a more generic life, to make her represent more than herself, to make her represent everyone. To make her represent the life that everyone experiences.
And this is why McDermott does not tell Marie’s story directly. Why she jumps around chronologically. We are not to focus on Marie. We are to focus on the life she lives. As representative of the life we all live.
Not that it is easy to get used to a structure in which childhood, adolescence, motherhood, and old age do not appear in sequence. That is, we experience her first heartbreak and her eventual marriage; her brother’s brief stint as a Catholic priest, his loss of his vocation, and his breakdown; her parents’ deaths; her “temporary” ten-year job in a funeral home; life at home with squabbling children; and the changing world of Irish-Americans. Marie labels everyone as fools for thinking anyone cares about us in a world in which we are victims of suffering, injustice, and mortality. But the novel suggests many do care. And the life of fools that we endure is a condition of this life that the novel celebrates.
Because Marie’s story is not told in sequence, we read of her pregnancy before her marriage, of her grown children before she gives birth. As a result, we read to learn not what will happen next to Marie, but to learn how what has already happened grew out of her earlier life. Thus, there is a different kind of suspense, based on a different kind of reader curiosity.
As with life, this novel reaches no conclusion. The ending recalls the opening pages, but what really happens when Marie recalls the death of a childhood friend from a fall on cellar stairs, as she herself climbs down her stairs in the dark? Is it that she has just helped to protect her brother Gabe’s life? And now: “We’ll see what happens next.” Who knows? Just as I was not sure why her beloved brother left the priesthood and later was confined to an asylum. Yes, there were hints and rumors, but, as in life, there are no sure answers; and McDermott offers an anecdote by husband Tom to stress this.
It also happens that Gabe is the most interesting character here, undoubtedly because he changes and yet there is no explanation for those changes. Because of the author’s skill and compassion, however, we feel not frustration as a reader but a greater understanding of Marie’s own concern.
One can only conclude that this uncertainty is part of the ordinary life that the author is depicting here. For that ordinariness is at the heart of this novel. Indeed nothing extraordinary occurs here—nothing besides death, childbirth, madness, and love—that would make Marie’s life different from any other. And the key to conveying that ordinariness is a prose style that is simple, that itself is ordinary, that focuses on the presumably insignificant details, on intimate family scenes, on familiarity with both physical and emotional pain, and, overall, on an empathy for the human condition.
Kevin Spinale sums this up in America. “It is the story of woman’s life—someone named Marie.…Yet, the majority of the story is empty, emphasizing the beauty of the story that is given—how fragile and subtle someone’s life is. How indefinite and ordinary and beautiful anyone’s life can be, if there is someone, anyone with whom one can share it.”
And Roxanna Robinson adds in the Washington Post: “Fear and vulnerability, joy and passion, the capacity for love and pain and grief. Those are common to us all. Those are the things that great novelists explore. And it’s this exploration, made with tenderness, wisdom and caritas, that’s at the heart of Alice McDermott’s masterpiece.”
This is not a novel that required research, or a special knowledge. It simply required a way of life to have been lived, and then to capture it in a simple prose that matches its subject matter. It required a middle-class Catholic life lived among a changing urban society. And an author who understands, identifies with, and sympathizes with that way of life.
Interestingly, this is a novel written out of a Catholic sensibility but not one in which Catholicism plays a major role. Its heroine Marie, indeed, rebels against her faith’s restrictions, just as she does against the conventional wisdom of others, including her parents and her doctors. Even when her brother Gabe leaves the priesthood, it is accepted rather than explored.
In an interview, McDermott calls herself a contrarian. One wonders how much her Catholicism has contributed to that sense of herself. For the Catholic way of life is not only separate from the mainstream of traditional American society, it is also out of the mainstream of the traditional literary world. Catholics, with their own values, look at life differently. And surely this novel looks at an American life differently from most current novels. I refer not to the structure but to the ordinary life shown here in that structure.
To sum up, may this not be the capstone of McDermott’s career. But it could be. For it simplifies a novel down to its basics. It is about one life, and yet about all lives. It focuses on the ordinary, but the ordinary that encompasses all our lives. It is about the limitations to our knowledge of others, rather than the usual omnipotent delineation of others by the author. And it is about writing simply, without the flourishes of an author calling attention to herself. (July, 2014)