Rafael Yglesias - Only Children

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Only Children: краткое содержание, описание и аннотация

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The critically acclaimed novel from a master of contemporary American fiction — now available as an ebook A loving satire of new parenthood and its attendant joys and blunders The Golds and the Hummels live in the same wealthy Manhattan neighborhood, but as both couples prepare for the arrival of their first child, they share little in terms of parenting philosophy. The Golds plunge into natural birth without bothering to first set up a nursery. The Hummels schedule a C-section and fill out hospital admissions paperwork weeks in advance. Both couples, however, are grappling with the transformations they know parenthood will immediately bring.
Set in a milieu of material excess and limitless ambition,
skewers new parents who expect perfect lives, but also offers an intimate look at the trials all new parents face as they learn how to nurture.
This ebook features a new illustrated biography of Rafael Yglesias, including rare photos and never-before-seen documents from the author’s personal collection.
With insight and candor, Yglesias recounts five years in the lives of two yuppie couples, to whom parenthood occasions typical tribulations and discouraging self-assessments. Byron’s birth exacerbates the problems between Diane and Peter Hummel (she’s a Yale-educated corporate lawyer, he’s a wealthy fundraiser for the arts). While she foolishly tries to be super-mom, wife and professional, she also puts pressure on Byron to excel, attempting to enroll him in an elite school and forcing him to play the violin. Peter withdraws from them both after Byron’s presence activates long-dormant memories of his icily aloof mother. Investment counselor Eric Gold, obsessed by the humiliation of his father’s business failures, frantically pushes himself to produce substantial earnings for his wife Nina and their son Luke. Her imagined inadequacies torment Nina, especially when she cannot soothe Luke, whose colic makes him infuriatingly uncontrollable. This is a vivid description of how rearing a first child can conjure up neurotic fears, which must be resolved before parents can nurture their offspring. Yglesias has abandoned the cynicism that infused Hot Properties; this new novel is deeply felt and thought-provoking. $75,000 ad/promo; Doubleday Book Club main selection; Literary Guild featured alternate.
Copyright 1988 Reed Business Information, Inc.
"The joys of Motherhood. Are they all one great lie?" In carefully orchestrated, parallel stories of two New York couples and their sons from birth through age five, Yglesias explores this and other contemporary parenting issues. The story moves carefully between the Golds and the Hummels in a sort of literary counterpoint that becomes more staccato in the second half of the book. Educated professionals with good incomes, both sets of parents have excellent intentions but are crippled by emotional "baggage": they are adult children ("only children") themselves. The children are unusually bright, but their development, like their parents’, is impeded by complex psychological issues. Yglesias writes with insight, showing how true adulthood comes with self-awareness, pain, and understanding. Definitely recommended.Ellen R. Cohen, Rockville, Md.
Copyright 1988 Reed Business Information, Inc. From Publishers Weekly
From Library Journal

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Listen to a young heartbeat.

Fast. Strong. Brave.

She forgot for a moment. She could feel Byron’s skin against her cheek and hear the thuds of his life. She forgot for a moment.

The sound pulled back — a shot, air exploding. The gray river twisted away.…

Don’t hit the brakes hard, you’ll skid. Turn into it, the tire’s blown—

There was Byron — get home to him.

I can handle this, the road is empty, this skid will—

The gray river disappeared. Her head hit the ceiling. She knew she was off the road, bucking on the black grass. She knew the shadows ahead were trees—

The seat belt. She had forgotten.

There’s Byron — get home to him. How fast am I going? Why doesn’t it end? What a stupid way to die.

The shadows came fast now. Dark and huge.

Do something! There has to be something you can do.

At the last second of this eternity, cursing herself, Diane twisted out of the seat and tried to leap back, back to the way she had come, back against the rush to nothing.

ERIC GOLD, the Wizard of Wall Street, returned to his desk, ignored the sounds of the pygmies, and made his bold move. “Billy? Here’s the short list—”

“Uh, Eric,” Billy stammered. “We’ve got a problem.”

What problem? Weeks ago Eric had cleared the borrowing. He had been ready all his life for this triumph.

Sammy’s hand came down on his phone. Eric stared at the fingers slashed across his phone, cutting him off. He thought: okay, Sammy, I’ll slam the phone on you and break your fingers.

“Eric.” It was the owl. “I’ve told Billy not to accept any orders from you. I spoke to Tom Winningham half an hour ago. He’s removed your discretion and turned it over to me. I couldn’t do anything about your closing out the positions, I’ve explained that. Mr. Winningham was appalled that you sold him out of the market. I told him it would be a good opportunity to get him into some quality issues.”

“It’s Billy,” said one of the secretaries.

So this is why no one looked at me when I came in.

“Tell Billy we’ll get back to him,” Joe said.

Eric couldn’t look up. His eyes stayed on Sammy’s white fingers — cutting Eric off from the money.

Joe said, “I begged you to discuss this in the office with me. I repeat my request. We’ve worked together for many years — let’s not end our association too hastily.”

Joe was sure of his position. Eric couldn’t help himself from guessing what Joe might offer. Half the management fee? Nothing? Raise Eric’s salary while lowering his cut of the profits?

Come on, Eric. You can’t go back. You can’t be the pleasant servant anymore. Joe is relying on your cowardice.

“Sammy,” Eric said. “Move your fucking fingers or I’ll break them.”

“Either come into the office now,” Joe said, “or get out.”

Eric looked at Sammy. Sammy’s thin face, usually nervous, worried, harassed, seemed to be at peace. Sammy’s won, Eric realized. Sammy had recovered his father’s respect. For a weird moment, Eric was glad for Sammy.

If only I had the courage to go, this would be a happy ending for everyone.

“Sammy,” Eric repeated. “I’ll break your fingers.”

“Who are you gonna call?” Sammy said softly. “Your father-in-law? He’s already made his decision. You can’t talk him out of it.”

Leave, Nina had said. Leave and we’ll make it. Maybe she could call Tom, get him to change — but she won’t.

He got up slowly. He felt himself grow. He was tall. Much taller than anyone in the room.

I’m so big. I should be strong.

His life was in this room. His dreams, no matter how comatose, still beeped a stubborn rhythm, still danced on the crazy red letters and numbers.

Go.

“Come into the office,” Joe said in a sweet, low chant. Joe got up from his chair and gestured inside.

Sammy nodded at Eric. Go in, make a deal.

Him too? He also wants me to stay. Why? Guilt? Or fear?

Leave. You don’t need them, Nina had said.

But she knew nothing about it. She didn’t know Eric’s weakness, she didn’t know his fear.

I am so big. So much bigger than them. Why can’t I be strong?

A THOUSAND-PIECE setting of China shattered. A hundred drawers of silverware crashed.

Cover yourself. Close up.

Diane was in the womb again. Legs tight, arms folded, eyes shut. She spun in the dark sea and prayed to be born.

Let me live through this mistake. I’ll be good. I won’t make any more errors.

The angry noise, with a final crash, stopped.

She stayed covered, closed, and awaited judgment.

There was no light. Her eyes saw nothing. The world was soft.

Get out quickly. Death waits here for you.

Out!

The floor cut and crunched. There was a little opening, just a small way out. Squeeze through. I won’t fit. I’m too big. I can’t get out!

Go quickly — death wants you. Get out!

I’m alive. This is a car. I’m alive. This is the window. Get out! Mom’s car will explode.

And she was out — rolling on the earth’s mattress, rolling on the unmade bed. But there was no light anywhere.

You idiot — you’re blind now. You killed your eyesight. You stupid, stupid, careless girl. You killed—

Open your eyes. You’ll see. Everything you want will be there; open your eyes and you will see the world you want.

This is grass. That’s the sound of the car engine. Just open your eyes and you will live.

She let go of fear. She opened her heart, stretched her legs, released the grip on her soul. The stars floated up to the ceiling, the blue-black dome of the world, white lights everywhere, jammed with life, crowded with cold confidence, millions of lights, endlessly signaling: we are here for you. We are with you.

The goddamned car, that wreck, may blow up.

She forced herself to her feet. Her legs didn’t have enough string in them. She fell forward, like a stupid infant.

Obviously they’re broken. Probably you’re dead. You’re dying and you don’t know it. Your arrogance is a joke. To think you could survive that crash. Well, if you get yourself to a hospital, maybe there’s a chance. Better get your purse from the car to pay the bill.

She walked again without remembering how.

But where’s the car door? The wheels were in the way. Why did they put the wheels like that? In the way of the doors? What a stupid car.

It’s upside down. My God, it’s upside down. Get away from it, it’ll blow up. Survive the crash and die for your purse.

But they won’t take me without my Blue Cross card. They’ll let me die. Concussion probably. Maybe shock. Aren’t you supposed to sit down now? You’ll probably die because you’re walking.

You’re very tired. Go back to bed. Have a different dream.

I’m sorry, Ma. I thought I should be home with Peter and Byron. I’m sorry I love them. I could be happy. I could go to the stars and float, but I love them — I have to have a Blue Cross card so they’ll love me.

Okay?

“Are you all right?” a face said.

I’ve never been right in my life. Maybe my purse was thrown from the car. See, if I didn’t need Peter and Byron, I wouldn’t have a purse.

“Is there anyone else in the car?”

“Purse.”

“Sit down here. You don’t look God.”

Of course not. No one is God. People make the world what it is: bright stars or unmade beds. People decide that even without their purse. Because they love. That’s why. They love and so they die.

I’ve got to stop crying. This policeman won’t take me to the hospital if I’m crying.

Big girls don’t cry because they lose their purse; they go to Saks and buy a new one.

“No one’s in there. Here, just sit. What happened?”

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