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Product Details

  • Hardcover: 304 pages
  • Publisher: Picador; First Edition edition (August 27, 2013)
  • Language: English
  • ISBN-10: 1250041295
  • ISBN-13: 978-1250041296
  • Product Dimensions: 5.9 x 1.2 x 8.5 inches
  • Shipping Weight: 13.4 ounces (View shipping rates and policies)
  • Average Customer Review: 3.2 out of 5 stars  See all reviews (69 customer reviews)
  • Amazon Best Sellers Rank: #702,711 in Books (See Top 100 in Books)

Editorial Reviews Review

Amazon Q&A for The Affairs of Others. Jess Walter, author of Beautiful Ruins, interviews Amy Grace Loyd, author of The Affairs of Others.

Jess Walter
Amy Grace Loyd

Jess Walter: Your protagonist, Celia, has been a widow for five years. She is a character of such conflicted desires—the profound need to grieve alone vs. the impulse to care for her tenants. Her voice, her sense of self, is so immediate. Do you recall how she came to you?

Amy Grace Loyd: The novel’s first sentence came as an invitation to me (and I hope it will to readers) to be inside a story in which an older woman, like Hope, compels for her complexity, her resilient beauty, her desires, even the dark ones. Yes, my narrator Celia’s voice, her way of seeing the world, was a welcome counter to all I was living at the time as the fiction editor at Playboy in New York. My job required a lot of outreach, persuading writers and literary agents to the magazine’s literary merits despite its other content. Celia’s stated need to be separate, her resignation about life and love, and her defiance of convention and celebration of boundaries was a refuge and a sort of wish fulfillment. I’ve lived in New York City and in Brooklyn in particular for a long time, longer than I imagined or hoped, and I’ve spent much of it trying to find a healthy balance between solitude and engagement with others, between quiet and the noise of city life, always streaming, beating on the walls. I’ve not always succeeded – neither does Celia. She’s walking a tightrope between control and surrender, good behavior and sometimes very bad behavior. She’s a lot hungrier than she’ll admit and that longing in her, both to preserve what’s hers and to touch and be touched, physically and emotionally, disrupts her plans and drives a lot of the story.

JW: You’ve worked as an editor for years (as fiction editor for Playboy, and most recently, for Byliner.) Did your knowledge of the publishing world help in writing The Affairs of Others? How did the editor Amy treat the writer Amy?

AGL: I think being an editor helps me to be a better judge of what constitutes a fully realized fictional world and what you need to give your reader in terms of pace, verisimilitude, and consistency of language and character. Editor Amy is, frankly, a pain in the neck. Some of my writers, including Margaret Atwood, James Ellroy, and Jonathan Ames, will tell you that. I’m pretty exacting as an editor, dog with a bone – I want to make sure my writers make good on the intentions they set up. I ask the same of me when I write and then I’m hard on my sentences word for word. It slows me down a good deal. When I want to get pages done, I sometimes have to shout the editor side of me out of my head, out of the room.

JW: You write about grief in a way that American writers rarely seem to do. How did you go about imagining Celia’s powerful relationship with a man who had been dead for five years?

AGL: Americans aren’t always on such good terms with mourning and remembering. We move faster and faster all the time or so it seems in this city of commerce and jackhammers. We grieved after 9/11 and that grief, even as it became a kind of siren song for tourists and politicians, lingers here in unexpected ways and can stop time, even briefly. I wanted to write in the voice of someone who is in effect trying to stop or slow time; I wanted to find out if that was possible. Celia does not apologize for loving a ghost – she’s made a promise to her husband. He died when he was young, when their love was young and it hadn’t been tested by long years of familiarity or the demands of children or work. As real as it was, it was yet an ideal. That she had such a love, even interrupted, is a life raft for her as a widow, an oasis, in a city that moves at such ruthless speed. Not everyone can say they’ve known love, the kind you’d fight for, and whether her partner is dead or alive, she means to honor that love, as a form of defiance and dignity. Losing someone is not the end of loving them.

JW: You’ve lived in Brooklyn for years. Does Celia’s brownstone in The Affairs of Others—on one floor, an old ferryboat captain, on another, a “modern couple, teeming with plans”—reflect your feelings about the place?

AGL: Because she’s a landlady and has chosen her tenants, Celia has had a lot more say over who lives next-door or over her head than I’ve ever had, but even with that greater latitude, she can’t keep her tenants’ lives from impacting her, from setting off her longing. She’s drawn to each of her tenants in different ways – a voyeur of their lives and histories. She wants to observe it all from safe remove, but try as she may, she can’t keep the chaos out. My urban life has been full of all sorts of detours – garbage trucks heaving outside my window, neighbors making noisy love or having a quarrel or a party to all hours, keeping me up all night, another neighbor who exercises at dawn above my head, yet another who needs his spare set of keys or complains because I vacuum my floors too early on Saturday. Living in the city is a collaboration with the unexpected a lot of the times, and it works on the imagination in exciting and dark ways.

From Publishers Weekly

The former literary editor of Playboy makes her fiction debut with an intimate portrayal of the walls erected by a woman after her husband's death, and how impulsive encounters with others break them down. Widowed five years earlier, Celia Cassill now clings to her isolation, allowing herself happiness only in memories of her marriage—books read, movies watched, bodies shared. She chose the tenants in her Brooklyn brownstone for their discretion and respect for separateness. When one of them moves to France, she reluctantly allows him to sublet his apartment to Hope, a beautiful, newly divorced, middle-aged woman recovering from her husband's infidelity. Not long after Hope moves in, another of Celia's tenants—a retired ferryboat captain—disappears, and his daughter holds Celia responsible. That messiness, as well as Hope's spinning-out-of-control life, prove intolerable to Celia, who wanders the city in search of her missing tenant, listening in on the tawdry goings-on in Hope's apartment, and recounting some of her actions during and after the death of her husband. Celia witnesses and participates in small acts of violence and sexual exploration, and her past and Hope's present force down Celia's walls. Lloyd's character study is narrow in scope but long on intensity and emotion. Agent: Warren Frazier, John Hawkins and Associates. (Sept.)

Customer Reviews

It bored me even though the plot could have been interesting.
Bonnie Brody
Loved the writing style and was completely drawn into the story and the characters.
I guess it just didn't reach out and grab me the way I had hoped for.
Cleveland Kid

Most Helpful Customer Reviews

21 of 22 people found the following review helpful By Luan Gaines HALL OF FAMETOP 1000 REVIEWERVINE VOICE on August 27, 2013
Format: Hardcover
Shameless. Brave. Unflinching. Brutally honest and slyly observant of the roles we play on the stage of life. Post-9/11 New York still in the grip of color-coded terrorist alerts, widowed Celia Cassill has wrapped herself in the sturdy embrace of an apartment building, landlady to George, a gay man; the Braunsteins, a married couple; and Mr. Coughlan, a retired ferry captain. George has asked to sublet his apartment for a short time to write in Europe, though Celia has purposefully constructed her rental agreements to specify no sublets. The burden of sorrow she carries since her husband's losing battle with cancer obscured by the necessary accoutrements of apartment management, Celia feels security slipping away as she agrees (just this once) to allow Hope to move in, unable to resist the lush personage of the new tenant, who is in search of temporary respite after a divorce.

Whatever a younger Celia might have imagined for herself, it never included the agonizing loss of a beloved spouse, loneliness in her late thirties or the weighty grief that seems to have settled in her bones. Soon the wonder that is Hope settles into George's tastefully appointed apartment, scattering her flowery scent, emotions and creature comforts everywhere, danger sliding through the cracks along with a bevy of sophisticated friends and well-wishers. And Celia is drawn into a drama both enriching and terrifying, her carefully-constructed interior breached, life demanding a return to the living.

Loyd leaves no stone unturned, nor is anything sacred in the exploration of Celia's world without her man, her coping skills, ritualized reapportioning of daily activities, need for control.
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16 of 16 people found the following review helpful By J Harveld on September 30, 2013
Format: Hardcover Verified Purchase
If you want the sugar-coated stuff, go elsewhere. If you want pure entertainment, made for TV stuff, go elsewhere. But if you want beautiful writing -- some long sentences, some short, but every one of them startling and creating an undertow of desire, longing, and urgency -- this is the book for you. If you want to learn about life, how we get through it, the dark stuff, how we lose and how we gain, this is the book for you. If you want to see a woman kick a man's ass, this is the book for you. If you like a sexy scene or two, this is the book for you. If you want it all tied up neatly, go elsewhere, but if you want the sort of evolution and ending that shows how surprising life can be even when we humans sorely wish it weren't, the sort of ending that shows even the loneliest and most defiant among us can locate a sense of home, can live on, give in to our warts and all, then pick this up and read it. It's a meal of a book. Several courses. Hang in and you'll be glad you did. Promise.
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7 of 7 people found the following review helpful By Anonymous on September 20, 2013
Format: Hardcover Verified Purchase
I don't read a lot of literary fiction. I prefer films, particularly those in the Hitchcock tradition of suspenseful and atmospheric studies of well-crafted characters. But I'd heard about The Affairs of Others from a friend in Brooklyn, where I've lived, as an imaginative work set in the borough and about the often intense interactions that occur between urban-dwelling neighbors. The book was a revelation. Yes, it features Brooklyn (specifically, Brooklyn Heights) as a vital, almost living and breathing character. And yes, there is suspense, both about a missing ferry captain and, more profoundly, about how the novel's protagonist, Celia, will emerge from a series of unexpected and extraordinary events involving tenants in her building. In fact, there's a powerful 'Rear Window'-quality to the book that extends the Hitchcockian insight about voyeurism in the close quarters of cities beyond the sights of others to their sounds, smells and palpable feelings.

That's quite an achievement in itself. Yet it also makes Loyd's book sound too much like a clinical authorial exercise. What was ultimately most remarkable for me about the novel is its frequently lush and always evocative writing. I was surprised at my pausing over and re-reading certain passages, even lines or turns of phrase, that not only resonated perfectly in their situational context in the story but conveyed a wider truth. That pausing, moreover, made me realize how much I was enjoying the pacing of the book: it slowed me down, allowed me to linger over a scene or some dialogue in ways I don't usually, either in reading or moviegoing. To me, that enabling of fresh ways of experiencing a character, a place or even time is a gift (unfortunately, too rarely given) that outstanding fiction offers to patient reading. Reading The Affairs of Others provided an unexpectedly rich bounty for me and I look forward to re-reading it.
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6 of 6 people found the following review helpful By Rhiannon on September 5, 2013
Format: Hardcover
It is difficult not to compare Amy Grace Lloyd's The Affairs of Others to Joan Didion's Year of Magical Thinking. The main character, Celia, possesses a raw grief for her husband. Remembering small details and constantly wrapping herself in the past. Just as Didion wove poetry into her memoir, Lloyd gives Celia's thoughts poetic slants. Her realization of distance and street names in a particular scene when she is walking between Atlantic and Pacific streets perfectly encompasses how one can suddenly look at something they have seen many times before, and now look at from a new perspective.
Celia doesn't want to move on. She wants to live on her memories and dismisses anyone wedging their way into her microscopic life. She can't stand that life and time move forward and exerts her control on the only thing she can: her apartments. She wants quiet tenants who keep to themselves. But when a subletter begins a loud affair, an elderly tenant goes missing and a couple's marriage shows signs of strains, Celia is forced to acknowledge the progression of time and other relationships occuring around her everyday. Although she is stubborn and numbs her pain, she is not weak. She is both resents and is protective of her tenants.
The Affairs of Others is a deeply moving novel focusing on the minutiae of grief, the desire to hold onto the past as the clock ticks, inevitably, forward.
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