Skip to main content

Sorrow and Bliss by Meg Mason review – inspired storytelling

An unnamed mental illness thwarts one woman’s stab at a happy marriage in a devastating and sharply funny love story

Martha is 40 and finally married to Patrick, a man who’s been secretly in love with her ever since teenagerhood. She now loves him back, but seems unable to be happy or even, on occasion, very nice to him. Ever since a “little bomb” exploded in her brain at the age of 17, she’s been on and off antidepressants, generally to little avail. Ultimately, when gentle, patient Patrick can take it no longer and walks out, Martha returns to her parents’ bohemian (AKA dysfunctional) family home in London’s Goldhawk Road and is forced to examine herself more closely. Is it simply, as she’s always felt, that she finds it “harder to be alive than most people”? Or is there some more devastating explanation – or diagnosis – which has been evading her all this time?

This is a novel about mental illness but, thanks to Mason’s astute, even inspired handling of the subject (of which more to follow) it succeeds in covering a great deal more ground besides. First, it’s a sharply entertaining – if not especially original – comedy of the maladjusted English middle class. Martha’s bittersweet relationship with her alternately protective and exasperated sister is fondly reminiscent of Fleabag. And there’s something recognisably, nostalgically old fashioned about this London of organic supermarkets, Belgravia Christmases, Southwark penthouses and privileged girls who work at small publishing houses specialising in “war histories written by the man who owned it” and are sent home at lunchtime because there isn’t enough to do.

Continue reading...

from Culture | The Guardian https://ift.tt/3i9HUeD

Comments

Popular posts from this blog

Knives Out review – Daniel Craig goes Columbo in Cluedo whodunnit

Craig grills an all-star lineup of suspects when a wealthy novelist is found dead in Rian Johnson’s sharp, country-house murder mystery R ian Johnson unsheathes an entertainingly nasty, if insubstantial detective mystery with his new film, Knives Out. Back in 2005, his debut movie Brick (a high-school thriller) paid tribute to the hardboiled noir genre. Now he does the same thing for cosy crime, although there is nothing that cosy about it. Knives Out has a country house full of frowning suspects, deadpan servants and smirking ne’er-do-wells and an amusing performance from Daniel Craig as Benoît Blanc, the brilliant amateur sleuth from Louisiana who annoys the hell out of one and all by smiling enigmatically, occasionally plinking a jarring high note on the piano during the drawing-room interrogation and pronouncing in his southern burr: “Ah suh-spect far-wuhl play!” Continue reading... from Culture | The Guardian https://ift.tt/2L0NKO4

Tracey Emin decorates Regent's Park and a celebration of Islamic creativity – the week in art

Emin and others survey the state of sculpture, Glenn Brown takes his decadent imagination to Newcastle and artists offer northern exposure – all in your weekly dispatch Frieze Sculpture Park Tracey Emin, Barry Flanagan and John Baldessari are among the artists decorating Regent’s Park with a free survey of the state of sculpture. • Regent’s Park, London , 4 July until 7 October. Continue reading... from Culture | The Guardian https://ift.tt/2IDCpPV

Elena Ferrante: ‘Solaris is not Tarkovsky’s best film, but it made the greatest impression on me’

Solaris is astonishing because the book that inspired it doesn’t seem to contain Tarkovsky’s film A film that I watch at least once a year is Andrei Tarkovsky’s Solaris . I’ve loved all of Tarkovsky’s works, even the most difficult. Some I’ve seen in the cinema, others on television. I saw Andrei Rublev at the cinema, and on the big screen it was astonishing, its black-and-white extraordinary: I’ll probably never see it again in a cinema, but I hope that young people will have the opportunity. I also saw Solaris on the big screen – not Tarkovsky’s best film, but the one that made the greatest impression on me. I remember that it was advertised as the Soviet answer to 2001: A Space Odyssey – a completely misleading slogan. To see in it a cinematic contest between the US and the USSR was as silly as it was misleading. Kubrick’s marvellous film, with its imaginative force, would certainly win. But it doesn’t have even a hint of the desperation, of the sense of loss, that dominates Sol...