In this riveting novel, Charlotte Wood takes a scalpel to the decades-long friendship of women in their seventies. Jude, Wendy and Adele have gathered for the last time at the weekender of Sylvie, recently deceased, to clear out a tonne of junk ahead of the house being sold. Like them, the house has seen better days, and their task serves as a metaphor for lives cluttered with memories and ancient resentments.
Like the author, I haven’t reached my seventies yet, but I found myself thinking: it’s not the end of the world, but you can sure see it from here. A sense of impending doom suffused my reading; a dread of ageing coupled with the certainty that the friendship is hurtling towards catastrophe. I even found myself turning a jaundiced eye on some of my own friendships. A disturbing and often depressing book, I couldn’t put it down. Wood’s beautiful, deceptively simple prose gallops along, with flashes of humour to make you laugh out loud.
The narrative shifts perspective constantly, showing the women through each other’s eyes and revealing their true feelings towards the others. Each is self-absorbed and self-justifying, skewering the others’ weaknesses until it is their turn to be dissected. How can any of us know another? Alliances form and dissolve, secrets are kept and exposed, relationships teeter on the brink and the feeling builds that this weekend will see their friendship disintegrate now that Sylvie is no longer there to hold it together.
All the women live alone and must fend for themselves. In many ways this friendship is all the love they have. Jude is uptight and repressed, a self-sufficient control freak whose icy demeanour repeatedly threatens to thaw and crack. The anger and disdain she frequently showers on her friends mask her deeper fear of being alone. Adele is vain, amoral and self-centred, nursing delusions about her faded beauty and career prospects; she is oblivious to the resentment she stirs up in her old friends. What drives her is fear of poverty, and her sense of entitlement means she will do whatever it takes, take whatever she wants and use whomever serves, to survive. Wendy’s chaotic behaviour and dishevelled appearance are symptomatic of a life in shreds. Her avowed refusal to wallow in the past is belied by her reminiscences about her beloved, long-dead husband, and fleeting fears about how she may have failed her children; and most of all by her clinging to her ancient dog, keeping him alive long after kindness and common sense would allow.
The dog, Finn, is demented and incontinent, and written so well you can almost smell him. The central character, he serves as a symbol for all their decrepitude, a focus for the disgust around the physical failings of old age, and also as a mirror that reflects different truths back at each of the women. Wendy is in trouble for bringing him along to the house; there is a gleaming white silk sofa that I feared for from its first appearance…
The writing is wonderful and there are some cracking set pieces: Wendy trapped in her decrepit, broken-down car on the freeway, trapped between a rock and a river of hurtling traffic, sweltering in the summer humidity with a large, terrified, incontinent dog pinning her down as she waits for roadside assistance; an excruciatingly cringeworthy dinner party; a vividly violent storm that brings the story to its climax. The characters are beautifully drawn. Mostly obnoxious and occasionally endearing , they reveal enough glimpses of their redeeming features to make the reader want to spend more time with them, and enough glimmers of hope to carry you through to the end.
- Deb