From Publishers Weekly
Wary '80s feminism observer Weldon (The Fat Woman's Joke) turns her sharp eye to the desperate neediness of two-career London parents seeking child care. Early 30-ish Hattie, a literary-rights agent, and lefty journalist Martyn are partners, rather than husband and wife. For their infant, Kitty, they procure competent young Pole Agnieszka Wyszynska who effects a glorious, unprecedented order in their household, thus allowing Hattie to return to work and the couple to enjoy real food and sex once in a while. It's Hattie's grandmother, Frances, however, who narrates, and Frances suspects Agnieszka isn't quite what she seems. If the au pair really is Ukrainian rather than Polish, she's not an EU cardholder and thus not legal to work. The solution of having Martyn marry Agnieszka makes Frances, who has emerged from the swinging '60s bearing her share of battle scars, raise her eyebrows. Weldon also adds great aunt Serena, a successful novelist, to the chorus; she has her own child-rearing, marriage and career stories. The results hit very close to the working literary family's bone. (June)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From Booklist
The acerbic Weldon aims some well-honed barbs at political correctness in this amusing send-up of modern relationships and child-rearing practices. In their mid-thirties--handsome, healthy, and well educated--literary agent Hattie and crusading journalist Martyn have been thrown off their game by the arrival of their infant daughter. While on maternity leave, Hattie feels particularly oppressed by the domestic routine: she's rotten at ironing, can't seem to soothe her baby, and hasn't worn an unstained garment in weeks. She suggests they hire an au pair, but Martyn has serious qualms about the ethics of having a servant. However, once Martyn experiences the calming effect the Polish nanny has on his household--which allows him to sleep late and eat gourmet meals, not to mention witness demonstrations of her belly-dancing lessons--his political principles crumble, but so does his relationship with Hattie. Narrating the whole turn of events is Hattie's 72-year-old grandmother, Frances, a character who allows Weldon to describe the changing attitudes toward children and marriage over four generations as well as to incorporate many autobiographical details that will be familiar to readers of her memoirs ( Auto da Fay, 2003). Throwing in one final unexpected but delicious twist at the end, Weldon delivers another of her trademark takes on the domestic wars. Joanne Wilkinson
Copyright © American Library Association. All rights reserved
Copyright © American Library Association. All rights reserved

