The Photograph [Hardcover]

Penelope Lively (Author)

Book Description

Publication Date: June 2, 2003

Penelope Lively is a grande dame of British letters whose novels have attracted readers of Ian McEwan and Iris Murdoch-as well as those enthralled by her insight into relationships and family. The Photograph brings her talents into a whole new page-turning realm.

It opens with a snapshot: a young woman, Kath, at an unknown gathering, hands clasped with a man not her husband, their backs to the camera. Its envelope is marked DO NOT OPEN-DESTROY. But Kath's husband, Glyn, does not heed the warning. The mystery of the photograph, and of Kath herself and her recent death, propels him on a journey of discovery that sends shock waves through the lives of her family and friends. The elfin Kath-with her mesmerizing looks and casual ways-moves like an insistent ghost through the thoughts and memories of everyone who knew her: self-centered Glyn, past his lusty, passionate professorial prime; her remorselessly competent sister Elaine, a doyenne garden designer married to feckless ne'er-do-well Nick; and their daughter Polly, beloved of Kath, who oscillates between home and family and the tumultuous new era she inhabits.

The Photograph, with Lively's signature mastery of narrative and psychology, explores issues that extend far beyond its London suburban setting: a woman's beauty and its collision with her own happiness, sisters' rivalry and lovers' cooling, a marriage in supreme crisis, and the cost of professional "success" as life unfolds. It is Penelope Lively at her very best, the dazzling and intriguing climax to all she has written before.

Editorial Reviews

From Publishers Weekly

Lively likes historians. Her most famous novel on this side of the Atlantic, the Booker Prize-winning Moon Tiger, told the story of a popular historian; her latest narrates the quest of a "landscape historian" in search of what Proust called "lost time": the living past of his dead wife. Glyn Peters, a famous British archeologist, discovers a compromising photograph of his wife, Katherine Targett, sealed in an envelope in a closet at home. Peters specializes in excavating the long defunct gardens, buried fields and covered-over roads of the British landscape. Reverting to professional habits, he treats Kath's infidelity as a sort of archeological dig. The photo depicts Kath and Nick Hammond, the husband of Kath's sister, Elaine, surreptitiously holding hands on some outing, with Elaine and Mary Packard, Kath's best friend, in the background. Glyn decides to interview this cloud of witnesses, beginning with Elaine. Elaine is a successful, and somewhat cold, landscaper; Nick, her polar opposite, is a man one degree away from being a Wodehouse dilettante. Lively, who is never shy of letting us know her opinion of her characters (like Trollope), makes her disapprobation of Nick plain. Elaine, after learning of the affair, kicks Nick out. He takes refuge with Polly, their daughter, in London, and goes rapidly downhill. Glyn, meanwhile, has searched out Nick's ex-business partner, Oliver Watson, who took the photograph, and Mary Packard. Lively is always a discerning, keenly intelligent writer. This, for instance, is how she describes, in three irrevocable words, Elaine's pregnancy: "She is pregnant: heavy, hampered, irritable." Unfortunately, Kath, a demon-haunted beauty with little depth, remains unconjurable. Her insubstantiality and the much-foreshadowed nature of her death, not revealed until late in the novel, drains this story of its full emotional impact.
Copyright 2003 Reed Business Information, Inc.

From The New Yorker

Scrounging around in a cupboard stuffed with three decades' worth of papers and academic debris, Glyn Peters, a recently widowed landscape historian, discovers an envelope marked "Don't Open—Destroy" in his late wife's handwriting. Is there anyone on earth who would obey such an injunction? Certainly not Glyn, who opens the envelope to find a photograph of his beautiful, feckless wife hand in hand with her sister's husband. Determined to understand his wife's affair, he delves into her past with a historian's tenacity and a good deal more interest in her than he managed to muster while she was alive. This search branches out to encompass a small circle of friends, all of whom have a share in the narration. But Lively doesn't stop there, and her characters' questions about the dead woman provoke questions about themselves and the roles they played in her life.
Copyright © 2005 The New Yorker --This text refers to an out of print or unavailable edition of this title.

See all Editorial Reviews

Product Details

• Hardcover: 240 pages
• Publisher: Viking Adult (June 2, 2003)
• Language: English
• ISBN-10: 0670032050
• ISBN-13: 978-0670032051
• Product Dimensions: 8.9 x 6.3 x 0.9 inches
• Shipping Weight: 1 pounds
• Average Customer Review: 3.5 out of 5 stars  See all reviews (74 customer reviews)
• Amazon Best Sellers Rank: #1,147,534 in Books (See Top 100 in Books)

More About the Author

Discover books, learn about writers, read author blogs, and more.

Customer Reviews

Most Helpful Customer Reviews

57 of 62 people found the following review helpful:

5.0 out of 5 stars a book and character that will haunt you, May 29, 2003

By 

Stephanie Cowell (New York, New York United States) - See all my reviews
(VINE VOICE)    (REAL NAME)   

This review is from: The Photograph (Hardcover)

The book begins simply. A husband searching through his old papers comes across a photograph of his wife holding hands with her brother-in-law and understands they must have been lovers. Through each chapter, as he angrily interviews friends and relatives for details of the love affair, a question begins to softly arise. Beneath the accusations, the denials and the love of those he questions, something begins to whisper not so much "What's the truth about what Kath did?" but "Who really was Kath?" Kath who died young, who was such a free spirit, not pulled down by life. But in the end what Kath did or did not do is secondary; it is the truth of who she was, and that all these people talking and fussing and denying and befriending, did not know her.

I have looked about me many times since reading "The Photograph" at people I know well, and wonder what they allow me to see. In the end of this remarkable novel, all the busy characters seem to fall away and the spirit of the illusive Kath remains alone gazing at the reader. We wonder how we can assume we know someone so well, and never perhaps even after many years know them at all.

14 of 14 people found the following review helpful:

5.0 out of 5 stars An Archaeology of Regret, June 8, 2008

By 

Roger Brunyate "reader/writer/musician" (Baltimore, MD) - See all my reviews
(VINE VOICE)    (TOP 500 REVIEWER)    (REAL NAME)   

This review is from: The Photograph (Mass Market Paperback)

I enjoyed Lively's recent CONSEQUENCES so much that I turned to this slightly earlier novel. It is equally absorbing, but I think the greater achievement. While dealing with similar concerns -- families, the power of memory -- it is more concentrated, darker in tone but richer in its observation of human nature, and ultimately the more satisfying book. Had Lively not already won the Booker Prize with MOON TIGER, it would be easy to see this novel as a strong contender.

The premise is simple. Glyn Peters, a sixtyish British archaeologist, comes upon a group photograph that includes his late wife, Kath. Details in the photo, and a brief note that he finds with it, suggest that there are aspects of Kath's married life that he didn't know. So, researcher that he is, he makes some enquiries. Consequences ripple outwards from there, affecting a tight group of people who had been connected with Kath. These include: Elaine, her older sister, a successful garden designer; Elaine's husband, Nick, a former publisher, now full of plans that seldom come to fruition; Oliver, Nick's former business partner, now running a desk-top publishing business of his own; and Nick and Elaine's daughter Polly, who had been very close to Kath growing up and is now a web designer. All of them remember Kath as a force of nature, stunningly beautiful, a magnetic presence in any room. Although there is little present-day action in the novel, Kath is very much alive in the memories of those who were close to her. Her incandescence comes through from the very beginning, but as we move through the heart of the novel into its poignant conclusion, we begin to glimpse the real woman behind the brilliant glow, and each of the characters finds something different in the Kath whom they thought they knew.

Consider again the various professions: archaeologist, landscape architect, publisher, web designer. As always with Lively, it seems, these are typical concerns for people of this class at this time. But there is more; they are all about manipulating and arranging given data to make a certain pleasing sense. Glyn's speciality is the history of landscape, reconstructing a lost way of life from the line of a hedge or the shape of a field; he is used to the way new discoveries can change old perceptions, and he approaches the study of his late wife in the same way. As a garden designer, Elaine also works with the natural features of a landscape, but builds on them, forming them into a new pattern to fulfill an aesthetic concept; this turns out to have been an acute analogy to her relationship with her younger sister. The other characters, as publishers or designers, are concerned with putting out words or pictures that will attract the eye, make apparent sense, and sell to the public. Lively seems to suggest that we treat our memories in much this way; by trying to wrestle them into patterns, putting them between glossy covers as it were, we may distort the natural shapes that point to more subtle meanings.

There is one other significant character in that photograph, Kath's friend Mary Packard. Mary is a potter, a profession that also involves the shaping of raw material into pleasing forms, but in a more basic and instinctive way. The raw material is not landscape but the dirt of which it is made, and the pot grows like a living thing in the potter's hands. It is not surprising that Mary understands things about Kath that even her family has missed. It is her appearance at the end of the story and her ability to listen (for all the others are talkers) that provides the final clues that make us see Kath in a new and gentler light.

Writing this review, I had the feeling of some other author hovering over Penelope Lively's novel. I now realize who it is: the Virginia Woolf of TO THE LIGHTHOUSE. Of course THE PHOTOGRAPH is by no means as difficult a book to get through, and it breaks little new formal ground. But it is similarly constructed out of a series of interior monologues, unbidden thoughts, and chance reflections. It is written with the assumption that the inner world is every bit as important as the outer one, only richer and more revealing. And Lively shares Woolf's power of making the reader look at his or her own life in ways which will never be quite the same again. A magnificent achievement!

10 of 10 people found the following review helpful:

4.0 out of 5 stars The Photograph, January 7, 2005

By 

Richard Cunningham (United States) - See all my reviews
(REAL NAME)   

This review is from: The Photograph (Hardcover)

This is a rather slow building novel. The central theme is changing perspective over a period of time seen through the viewing lens of an adulterous relationship. To complicate matters, the woman is involved with the husband of her sister. Or to put it symmetrically the other way, the man is involved with the sister of his wife. The author's use of revolving narrators is skillful, which gives the reader material to ponder.