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In America: A Novel Paperback – May 4, 2001
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As an essayist, Susan Sontag has tended to stick pretty rigorously to the modern age, whether she's anatomizing the wild world of camp or roasting Leni Riefenstahl over the coals. But in her fiction--particularly in such fin-de-siècle productions as The Volcano Lover--she's clearly felt the allure of the past. And In America, which chronicles the travails of a late-19th-century actress, shows Sontag in top time-traveling form. What's more, it illuminates her motives for glancing so persistently backward. "Almost everything good seems located in the past," she notes in a first-person prologue, "perhaps that's an illusion, but I feel nostalgic for every era before I was born; and one is freer of modern inhibitions, perhaps because one bears no responsibility for the past." There's nothing, it seems, like the age of innocence--a golden moment before we moderns had the curse of self-consciousness brought down on our heads.
It's ironic, then, that In America revolves around a regular paragon of self-consciousness: a brilliant Polish diva named Maryna Zalezowska. The year is 1876, and this Bernhardt-like figure has decided to abandon the stage and establish a utopian commune in (you guessed it) California. Not exactly a logical career move, is it? Yet this journey to America does involve a major feat of self-reinvention, for which Maryna may be uniquely qualified. Writing a letter home from the brave new world of Hoboken, New Jersey, she argues against the idea that "life cannot be restarted, that we are all prisoners of whatever we have become." And once she arrives in Anaheim with her husband, child, and fellow utopians in tow, she does seem to slough off the skin of her older, European self. She is now that exotic creature, an American, existing in an equally exotic landscape--which happens to elicit some of Sontag's most lyrical prose:
They had never felt as erect, as vertical, their skin brushed by the hot Santa Ana wind, their ears lulled by the oddly intrusive sound of their own footfalls.... Hardly anything is near anything here: those slouching braided sentinels, the yucca trees, and bouquets of drooping spears, the agaves, and the squat clusters of prickly pears, all so widely spaced, so unresembling--and nothing had to do with anything else.Like every utopia in human history, Maryna's is a failure. Following its collapse, she is moved to return to the theater--but as an American, now, plugged securely into the middlebrow culture of her adopted land. The rest of the novel charts her brilliant career among the philistines, along with a number of heated erotic detours.
Given its subject matter, Sontag's novel is oddly anti-dramatic: she juggles a half-dozen narrative strategies but seldom allows us to sink our teeth into a prolonged scene. Yet she delivers a great many other riches by way of compensation. Her take on the perils and pleasures of expatriation is worthy of Henry James (who actually makes a cameo appearance, assuring Maryna that England and America will morph into "one big Anglo-Saxon total.") And she includes a superbly entertaining portrait of theatrical life, culminating in a virtuoso monologue from Edwin Booth that suggests a Gilded Age Samuel Beckett. As always, there is the pleasure of watching the author's formidable intelligence at work, immersing us in the details of a character or landscape and then surfacing for a deep draught of abstraction. Perhaps Sontag is too cerebral to ever produce a straightforward work of fiction. But this time around, anyway, she brings both brains and literary brawn to bear on what Henry James himself called "the complex fate" of being an American. --James Marcus --This text refers to an out of print or unavailable edition of this title.
From Publishers Weekly
As she did in The Volcano Lover, Sontag crafts a novel of ideas in which real figures from the past enact their lives against an assiduously researched, almost cinematically vivid background. Here again her signal achievement is to offer fresh and insightful commentary on the social and cultural currents of an age, with a distinctive understanding of how historical events forged character and destiny. If the story of renowned Polish actress Maryna Zalewska cannot compare in drama to that of Admiral Nelson and the Hamiltons (as a protagonist, Maryna remains somewhat shadowy and elusive), Sontag succeeds in conveying how the political and intellectual atmosphere of Poland and the U.S. in the late 19th century affected her heroine's life. Beautiful, famous and restless at 35, Maryna decides to leave her native land, suffering under Russian occupation. She convinces her husband, Count Bogdan Demboski, her would-be lover, journalist Ryszard Kierul, and various other members of the Warsaw intelligentsia to emigrate to America, where, influenced by Fourier's social philosophy, they will establish an experimental farm commune in southern California. Predictably, the community fails to prosper and falls into debt; idealism gives way to disillusionment; Maryna decides to resume her career, achieving immediate acclaim; and the romantic triangle moves to a new stage. Meanwhile, Sontag makes meaningful associations between a woman's need for freedom and independence, a nation's suffering under a conqueror's heel and the common human quest for "newness, emptiness, pastlessness... this dream of turning life into pure future" that colored many immigrants' views of America. She leads readers into the book via a long, breathless, one-paragraph prologue, narrated as if in a fever dream; indeed, it is not until many pages into the novel that the date and the geographical setting are established. Exemplary at imagining an actor's needs, impulses and sources of inspiration, Sontag also conveys the theatrical world of the time (East Lynne was the most popular play; Sarah Bernhardt reigned in Paris) almost palpably. There are few dramatic peaks and valleys in Maryna's story, but the historical backdrop--with pithy and evocative descriptions of American cities at the turn of the last century, cameo portraits of salty frontier types, and snippets of Western lore--supplies the vigor that the main plot often fails to engender. While this book does not exert the passionate energy of The Volcano Lover, it is a provocative study of a woman's life and the historical setting in which she moves. Author tour; U.K. rights to Jonathan Cape. (Mar.)
Copyright 2000 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
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Not that there isn't a terrific novel hidden In America somewhere.
I can't help but wonder why Sontag chose to tell much of the novel from her female protagonist's perspective, since her male narrators are so consistently vividly imagined and effective, and her female characters are not. A scene in steerage and an excerpt from Maryna's husband's diary are much more provocative than Maryna's musing... since the actress-protagonist is a motivating force and an object of adoration, there really isn't much for her to do besides inspire and wonder. Interestingly enough, this imbalance, this failure of imagination when portraying male and female perspectives, is also evident in The Volcano Lover (a much more fully realized book).
Perhaps the questions Sontag asked herself in writing this book were never satisfactorily answered for (asked by?) the author... or perhaps the book means to evoke the aridity of both failed dreams and success, as well as the narcissism of the theater and the heavy blankness of the American gaze.
Regardless, this is not generally a diverting reading experience, nor is it particularly engaging as a novel of ideas.
As she tells in a brief introduction, this work is inspired by the life of Poland's most celebrated actress and her immigration to America. "Inspired by... no less and no more." With these words, we learn that Sontag has appropriated of the characters and made them her own. This is certainly one of the most intriguing aspects of "In America" - how an artist recreates life the way it pleases her fiction. This theme is very suitable since it is a novel about an artist (the protagonist) who has to reinvent herself in order to survive when her dreams of a utopian society go astray.
The character is Maryna Zalezowska, Poland's most celebrated actress of her time, who has conquered hearts and minds with her art. Tired of this life, she immigrates to America, taking with her, her husband, son, lover and some friends. America appears to her as a dream, as something that could never go wrong, a place where money meets dream and they are happily married.
After Maryna's idealist community doesn't work out, she has to recreate herself, and return to the stage. Once a celebrated actor, now like a newcomer she has to prove her talent. The approach of art - especially theater - is different in the States from Europe. But she is a smart woman capable of giving audiences what they want - even if that means corrupting herself somehow sometimes.
It feels like Sontag is telling us this is the art of being an American. The art of reinventing one's self whenever and however it is needed. Maryna is the intersection of both worlds - the Old and the New one. Love has a role in her life, as well, but smaller than art. Maryna lives and dies for the theater - in other words, for her art.
While Sontag is very known by her essays on culture, politics and so on, her novels are distinctive for dealing these subjects inserted in a fictional account. Despite being written a decade ago, "In America" is tremendously up to date. This is a story about what makes one country, and what immigrants find in their new country. America is receptive to Maryna once she is able to give what her audience wants. What do they want? That is a very tricky question. Love, for once. But they are also delighted with death. But above all, they want to be more than Europeans. Noble titles, as a character says, are very impressive to Americans - and who cares if they are real.
As a post-modern novel, the opening and closing chapters, are quite interesting. Both of them are a first person account of Sontag herself entering in Maryna's world and departing from it. However difficult they are for a reader - they are a single paragraph twenty-page long - these sequences in "In America" are beautiful and meaningful. The strange feeling they give us is certainly related to Maryna's own strangeness of a foreigner in a country in the making.