![]() ![]() She receives another, odder marriage proposal from elegantly creepy Mr. ![]() Edith considers all these possibilities-while recalling (and revealing) the details of that London ""lapse"": not showing up for her scheduled wedding to a bland, safe suitor. Neville, who urges her to adopt an ""entirely selfish"" approach to life and love. Pusey-gloriously well-preserved at 79, accompanied by her plumply sexy daughter-is ""completely preoccupied with the femininity which has always provided her with life's chief delights"" on the other hand, shrill Monica, rebellious and quasi-anorexic wife of a nobleman, offers ""the rueful world of defiance, of taunting, of teasing, of spoiling for a fight."" And a third alternative to Edith's own romanticism is provided by enigmatic guest Mr. At first, then, while writing letters to her married lover back home, Edith plays the role of the watcher, becoming the confidante to two hotel guests-each of whom represents one womanly approach to the problem of romance: regal widow Mrs. ![]() ![]() As in Brookner's Look at Me (1983), this Jamesian, Woolfian heroine is unmarried, wary, cerebral-torn between involvement and detachment, self-dramatization and self-deprecation. Edith Hope, 39, ""a writer of romantic fiction under a more thrusting name,"" has come to a small, quiet Swiss hotel in the off-season-to recover from (or atone for) some unspecified, scandalous ""lapse"" in her London behavior. ![]()
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