While The Country Life was unexpectedly different from The Outline Trilogy, it was no less good. The narration felt stiff and formal and quite British, worthy of a classic to stand the test of time. The characters were quirky and interesting (but thankfully, believably so).There were mysteries, some of which were never truly solved, and stories half-told and half-understood, and secrets merely glimpsed, and desires considered and abandoned. Nothing was as it should be and everything was as it could be, with a bizarre undercurrent through it all.
The story starts with Stella Benson hurriedly preparing for her journey from London to the English countryside where she has been hired as an au pair for a wealthy farming family with a wheelchair-bound son. Foreshadowing as we meet the family makes it seem like she ends up spending ages with them, but as it turns out, the plot only covers one week in time. We are graced with Cusk's trademark introspection and brief shades of the deep conversations that form the substance of her later books, but in TCL these are a smaller part in the larger framework of more typical settings, characters and plot.
What I enjoyed most about this book was the situational humor, in a so-awkward-it's-funny kind of way. I think quite possibly Rachel Cusk would be horrified to hear this, but at times Stella made me think of Bridget Jones--not only because she kept finding herself in mortifying situations, but because she seemed only able to make things worse. I read with mingled vicarious shame and relief that it wasn't me.
Why has no one adapted this book for the screen? I would totally watch a TV series of The Country Life. I think it would be like a funnier and more normal-seeming Gormenghast.
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"Ah, good conversation--there's nothing like it, is there? The air of ideas is the only air worth breathing." --M. Rivière to Newland Archer, The Age of Innocence