Customer Reviews

A Window Across the River

5 star:		(7)
4 star:		(5)
3 star:		(2)
2 star:		(2)
1 star:		(5)

 

 

This is truly one of the best books I've ever read by someone who's still breathing.

It all rang true, from the New York atmosphere to the ups and downs of the couple's relationship to the slight tinge of resentment over Nora's mostly giving and sweet relationship with her aunt. Every page brought the sort of "ah-ha" moment when you read something that seems like it should be obvious but that is worded in a way that makes it seem entirely new and fresh--kind of, "I could have thought of that--nah, who am I kidding."

This is one of those books that you finish and instantly turn back to page one to start again and recommend to your friends while envying them the experience of discovering it for the first time.

Wonderful, just wonderful.

Starting Out In the Evening, Brian Morton's second novel, made me an afficianado of his work, since the book was that refreshing and rare treat: a novel about a writer. Writers often avoid writing about writers, perhaps fearing that their fiction will be disdained as being too autobiographical. As a result, there are far too many writer-characters out there who are thinly and inadequately disguised as artists, composers, etc. It's a blessing to find an author brave enough--and in love enough with the mysteries, joys, and challenges of the writing process--to step up to the plate and address them. (Starting Out also offers heartbreaking meditations on aging--the main character reflects, for instance, that he feels ashamed of his aging body, as if he's done something wrong in getting old.)

In his third novel, A Window Across the River, Morton offers more trenchant writer portraiture: one of his protagonists, Nora, struggles with her inevitable penchant for cannibalizing the less savory characteristics of those she loves in order to create her fiction. As any serious writer knows, the question of what and how much to borrow from those around us results in some serious moral quandaries, which Morton explores here with his typical compassion, delicacy, and humor. Window and Starting Out are both Bibles of sorts for writers who want to read about writers--along the lines of the novels of Andre Dubus. And both books are highly recommended for discriminating readers who aren't writers but are seeking the old-fashioned, ultimately satisfying good read.

How does he do it? Language is used sparingly - there's no flim-flam or fancy stuff - but every word counts as Morton creates fully-developed, real people. There are: Nora, who writes short stories in which she skewers those she cares about; Isaac, the love of her life whom she left but wants back; Aunt Billie, weak - but wonderful; and a supporting cast of characters with quirks and egos that are immediately recognizable. I found myself reading it fast, wanting to find out what would happen to everyone I had met. I was not disappointed, from the first page to the last.

Nora Howard, a thirty-five-year-old writer, is almost always in the grip of a creative fever, but though she always starts out intending to write fiction, she soon finds that the problems and misfortunes of her friends, relatives, and acquaintances seep into her stories. Before long, she is reading into the real person's mind and divining thoughts, motivations, and emotions--and using these observations in her stories. Though this leads to stunning realism, her friends feel betrayed.

When Nora reconnects with Isaac Mitchell, an art photographer and former lover who was a major part of her life five years before, he is hesitant about resuming their past relationship. His early promise as a creative artist has not borne fruit in the way he has hoped, and he is now working as deputy photo editor for a newspaper, a job that he enjoys, though he fears that he is no longer the "moral touchstone" that Nora once thought him.

In alternating chapters, Nora and Isaac tell their stories, past and present. The story of Nora's "writing life" becomes more complex when her aunt Billie, her only remaining relative, becomes seriously ill, and Nora must make sacrifices. Meanwhile, Isaac's young protégée Renee is finding great success, and he can't help resenting the fact that for her, photography seems far easier and more natural than it does for him.

Exploring the creative life in detail here, author Brian Morton demonstrates that for Isaac, "photography had [once] taken the place of prayer in his life" and for Nora, "it was the best way she had ever found to express her fascination with life, her quarrels with life." The sacrifices and compromises one makes for art are nicely realized, and when Nora writes a story about a character named, symbolically, "Gabriel," a story she is submitting to an Atlantic magazine contest, the stage is set for a confrontation with Isaac. Billie's illness leads to a broadening of themes and to additional questions, not only about the creative life, but about how we find personal satisfaction and how we want to be remembered.

Homely details and dialogue give insights into the relationships of the characters, while Morton's unpretentious style keeps the reader focused on the here and now. The realism is leavened with irony and humor, at the same time that the author makes important points about who we are, as opposed to who we want to be. Through small events and small details, Morton keeps his novel focused, showing real people learning or not learning from their experiences. Mary Whipple

Nora and Isaac are a curious pair of artists in love, out of love, and in love of truth, in capturing it in word and in image. "A Window Across the River" is a powerful story of love and of art, which makes for a fascinating marriage. And missing my hometown of New York, I especially liked the setting. Morton does an exceptional job capturing its heart as well.

I also recommend "A Secret Word" -- Paddock ; "Amagansett" -- Mills

Never have I been so happy that I picked up a book by an author I'd never heard of. I devoured "Window," pausing only to laugh out loud occasionally. Writers are often advised to avoid writing about creative artists, especially other writers. I'm glad Morton ignored that advice. He shows that a novel about artists can be exciting because the creative process is an adventure--a journey to an unknown destination, which the traveler may not reach. He may not come back alive, either. Morton gives us a love affair between a writer and a photographer. The photographer has career problems, terrible struggles with the editors and curators who control the fate of his work. The writer has problems with her own creative process. She can't control what her imagination does with her material, which is her life and the lives of people she loves. This is a sad story, but (as I said above) a very funny one. For instance, when a character falls in the river, the description of what a mouthful of the Hudson tastes like is worth the cover price in itself.

So incredibly boring. The story went nowhere slowly. I could not stand the selfish and often cruel main character (although there was certainly tenderness toward her aunt). Issac had many good qualities but the story itself just dragged on and on.

Would not recommend.

The author, Brian Morton, is an exceptional and gifted storyteller. With his descriptions and dialogue, I felt the connection between Isaac and Nora, the estranged pair who drifted apart years ago and have now crossed paths once again. In fact, I often wondered why they ever broke up in the first place.

The book's central theme is about taking chances and jumpstarting your life, whether it be with your lovelife, your career, or what-have-you. Nora attempts to do just that by stepping out of her comfort zone. She lifts the weights and burdens of her life to allow herself to begin exploring her writing and revitalizing her personal life. "You have to be the heroine of your own life," says Nora. Along the way, she answers a lot of questions about herself. Some reviewers felt that Nora was selfish; however, I never felt that way towards her reading the book. She was just stuck. In a rut. And wanted to get out. Often, though, she didn't know how. So she tried to please everyone else by remaining stagnant. And she wasn't happy or fulfilled. If pulling yourself out of a slump is selfish, then perhaps we should all be selfish once in awhile. It's the best thing one can do for oneself.

The central story and its observations are not insightful, per se, but they are extremely accurate and hit close to home. When describing a break-up, Morton says, "When you tell someone you're leaving him, he'll ask why, and then you'll have to give your reasons, and then he'll dispute them...and the two of you will debate whether your reasons for leaving are good enough, when all along what you really want to say is simply, 'I don't love you anymore. I'm not happy.'" Is that selfish? No. In fact, it's the most honest thing someone could say to you, even if you don't want to believe it at the time. And believe me, I know! You hate to admit it, but it's true. The person doesn't hate you. They just don't love you anymore. For them to keep kidding themselves would do nothing but hurt you both. The debate is pointless.

Anyone who feels like their career is in neutral can sympathize with Nora's lack of drive in her career. "I am still writing. But I'm not going anywhere. I've been working on things I don't care about and avoiding things I do. And I'm turning thirty-five this year. I feel like I'm too old. I feel like I'm finished." As the old saying goes, "It's never too late to teach and old dog new tricks." So get out there and do it! Morton teaches a valuable lesson.

Morton also offers some valuable insight to aspiring writers: "...if you want to be a writer, the most important piece of equipment you need is the ability to be alone--to spend your best hours by yourself at the keyboard." (And, of course, the people in your life should be understanding of that need as well.)

Whether he's writing about romance, love, the connections between people, or the thoughts that go through the minds of writers, Morton is dead-on. Anyone who's ever lost a love, questioned a break-up, or felt like they were in a dead end career will enjoy A WINDOW ACROSS THE RIVER.

I immediately ordered A WINDOW ACROSS THE RIVER as I was indelibly impressed with STARTING OUT IN THE EVENING. Well, it was a bore, its plot was mundane, the characters held no interest, and I cannot recommend.
This does not in any way dilute my recommending STARTING OUT IN THE EVENING, however.

There are no grand epiphanies is Brian Morton's work, and that is the beauty of reading his writing. He focuses on the nuances of characters, their inner lives, thoughts, feelings. We get to know them so well, that when they connect with other characters, we know how and why. Nora and Isaac are no exception. I find all of Brian Morton's work subtle, tender and old fashioned and look forward to reading his next novel.