Evenings at Five
pri 2003 · Ballantine Books
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Every evening at five o’clock, Christina and Rudy stopped work and began the ritual commonly known as Happy Hour. Rudy mixed Christina’s drink with loving precision, the cavalier slosh of Bombay Sapphire over ice shards, before settling across from her in his Stickley chair with his glass of Scotch. They shared a love of language and music (she is an author, he a composer, after all), a delight in intense conversation, a fascination with popes, and nearly thirty years of life together.
What did I think, that we had forever? muses Christina, seven months after Rudy’s unexpected death. While coming to terms with her loss, with the space that Rudy once inhabited, Christina reflects on their vibrant bond—with all its quirks, habits, and unguarded moments—as well as her passionate sorrow and her attempts to reposition herself and her new place in the very real world they shared.
In this literary jewel, a bittersweet novella of absence and presence and the mysterious gap between them, Gail Godwin has performed a small miracle. In essence, Evenings at Five is a grief sonata for solo instrument transposed into words. Interwoven with meditations and movements, full of aching truths and a wicked sense of humor, it exquisitely captures the cyclical nature of commitment—and the eternal quality of a romance completed.
What did I think, that we had forever? muses Christina, seven months after Rudy’s unexpected death. While coming to terms with her loss, with the space that Rudy once inhabited, Christina reflects on their vibrant bond—with all its quirks, habits, and unguarded moments—as well as her passionate sorrow and her attempts to reposition herself and her new place in the very real world they shared.
In this literary jewel, a bittersweet novella of absence and presence and the mysterious gap between them, Gail Godwin has performed a small miracle. In essence, Evenings at Five is a grief sonata for solo instrument transposed into words. Interwoven with meditations and movements, full of aching truths and a wicked sense of humor, it exquisitely captures the cyclical nature of commitment—and the eternal quality of a romance completed.
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Gail Godwin is the three-time National Book Award nominee and bestselling author of eleven critically acclaimed novels, including A Mother and Two Daughters, Violet Clay, Father Melancholy’s Daughter, Evensong, and The Good Husband. She has received a Guggenheim Fellowship, a National Endowment for the Arts grant for fiction and libretto writing, and the Award in Literature from the American Academy and Institute of Arts and Letters. She has written libretti for ten musical works with the composer Robert Starer. Currently she is writing her twelfth novel, Queen of the Underworld.
Visit her Web site at www.gailgodwin.com.
Visit her Web site at www.gailgodwin.com.
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