Amy and Isabelle

Amy and Isabelle

by Elizabeth Strout

Narrated by Stephanie Roberts

Unabridged — 11 hours, 27 minutes

Amy and Isabelle

Amy and Isabelle

by Elizabeth Strout

Narrated by Stephanie Roberts

Unabridged — 11 hours, 27 minutes

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Overview

With compassion, humor, and striking insight, Amy and Isabelle explores the secrets of sexuality that jeopardize the love between a mother and her daughter. Amy Goodrow, a shy high school student in a small mill town, falls in love with her math teacher, and together they cross the line between understandable fantasy and disturbing reality. When discovered, this emotional and physical trespass brings disgrace to Amy's mother, Isabelle, and intensifies the shame she feels about her own past. In a fury, she lashes out at her daughter's beauty and then retreats into outraged silence. Amy withdraws, too, and mother and daughter eat, sleep, and even work side by side but remain at a vast, seemingly unbridgeable distance from each other.

This conflict is surrounded by other large and small dramas in the town of Shirley Falls--a teenage pregnancy, a UFO sighting, a missing child, and the trials of Fat Bev, the community's enormous (and enormously funny and compassionate) peacemaker and amateur medical consultant. Keeping Isabelle and Amy as the main focus of her sharp, sympathetic eye, Elizabeth Strout attends to them all. As she does so, she reveals not only her deep affection for her characters, both serious and comic, but her profound wisdom about the human condition in general. She makes us care about these extraordinary ordinary people and makes us hope that they will find a way out of their often self-imposed emotional exile.


Editorial Reviews

OCT/NOV 00 - AudioFile

Amy Goodrow wants a new mother. Isabelle Goodrow never expected to be one but has struggled for the last 16 years to do it properly. Both have to marshal all the power of their situations, though it will still not be enough when Isabelle finds her daughter has fallen in love with her math teacher. The explosion that follows raises them both to new levels of understanding and compassion. Reader Stephanie Roberts seems to love her characters and pulls their voices out of herself, not just for Amy and Isabelle, but for the others as well. Stacy, Amy’s brassy friend, and Fat Bev, whom she works with in the mill, become almost Dickensian voices that ring inside us long after the tape is over. P.E.F. © AudioFile 2000, Portland, Maine

bn.com

Elizabeth Strout's remarkably assured debut novel, Amy and Isabelle, is an exquisitely nuanced exploration of the complex relationship between a single mother and her teenage daughter. Shy, sensitive Amy Goodrow leads a cloistered existence with her mother, Isabelle, in a small New England mill town. For years, Isabelle has stoically endured the emotional emptiness of her life and unfulfilling secretarial job, secure in the knowledge that "her real life would happen somewhere else." But when Amy falls in love with her high school math teacher and crosses the line between adolescent fantasy and disturbing reality, she releases Isabelle's intense shame about her own past and opens an unbridgeable distance between them.

Laura Jamison

...[A]n impresive debut novel....Strout writes with abundant warmth...
People Magazine

Mademoiselle

If you read one book all year, let it be this exquisite first novel.

New Yorker

Unflaggingly engaging...What a pleasure to gain entry into the world of this book.

Vanessa V. Friedman

...[I]n Strout's sure hands[the central revelatory] truth isn't awful butin factrevelatory. —Entertainment Weekly

Time Magazine

Strout's insights into the complex psychology between [mother and daughter] result in a poignant tale about two comings of age.

Jeff Giles

Lovely, powerful. —Newsweek

...[A] poignant, compassionate and insightful tale...

Publishers Weekly - Publisher's Weekly

Stories of young women who suffer the sexual advances of an authority figure (in this case, a high school math teacher) seem ubiquitous these days. But in Strout's gently powerful, richly satisfying debut, the damage shows less within the heart of the teenaged girl in question than in the wreckage of the previously tranquil relationship she had enjoyed with her mother. Amy Goodrow, 16, is the shy only child of Isabelle, a single mother. Isabelle's shame over the secret of her daughter's illegitimacy and her hunger for respectability keep her painfully isolated from the community of the New England mill town where she has made her home. Even before Amy's relations with her teacher become known, her beauty and her burgeoning sexuality arouse uncomfortable feelings of competitiveness in Isabelle, as well as dread at the prospect of her daughter's flight from Isabelle's carefully constructed nest. Amy, meanwhile, is in love; Strout lays out her teacher's charms as clearly as his caddishness, and her portrait of a young woman stumbling on the shattering power of lust--her own and others'--balances delicacy with frankness and breathtaking acuity. In the end, it is Isabelle who stays with the reader; devastated by her daughter's betrayal, riven with regrets over a life left largely unlived, she must somehow make amends to herself.

Library Journal

When Amy Goodrow falls in love with her high school math teacher, and the two are subsequently found parked on a lonely road together, her relationship with her mother, Isabelle, is changed forever. This mother-daughter novel tells the story of how Isabelle Goodrow escaped her past and moved to a small town with her daughter, telling everyone her husband and family were dead. While focusing on the relationship between the women, Strout also explores the lives of others in Shirley Falls: Dottie Brown and Fat Bev, Isabelle's co-workers at the mill; Stacy Burros, Amy's best friend; and women from Isabelle's church. Strout's first novel reveals her ability to create characters who are both interesting and believable. Her attention to the detail of everyday life resembles that of Alice Munro and Anne Tyler. Stephanie Roberts reads with clarity, capturing the personality of each character; the tape quality is excellent. Recommended for popular fiction collections.--Nancy Ives, SUNY at Geneseo Copyright 2000 Cahners Business Information.

Suzanne Berne

Evocative...one of those rare, invigorating books that take an apparently familiar world and peer into it with ruthless intimacy, revealing a strange and startling place. -- The New York Times Book Review

Laura Jamison

...[A]n impresive debut novel....Strout writes with abundant warmth... -- People Magazine

The New Yorker

Unflaggingly engaging...What a pleasure to gain entry into the world of this book.

San Francisco Chronicle

This first-time novelist is destined for great things....Stunning.

Kirkus Reviews

A lyrical, closely observant first novel, charting the complex, resilient relationship of a mother and daughter. Isabel Goodrow had settled in the mill town of Shirley Falls when her daughter Amy was an infant, reluctantly admitting to those who asked that both her husband and her parents were dead. Amy has grown up knowing little about her father and, thanks to her closeness to Isabel, also knowing little about the rough give-and-take of life. Now, Amy's innocence is under assault from various quarters, and her mother finds herself losing touch with the daughter who has been the focus of her existence. Amy, at 16, has a poised, delicate beauty, and finds herself-at first with alarm, then with a barely suppressed excitement—responding to the flirtations of a new teacher. Part of the novel's power derives from Strout's ability to set Amy and Isabel's painful struggles within the larger context of a small town. Some elements of the life there seem timeless: the steady flow of gossip, the invisible but nonetheless rigid social hierarchies, the ancient disruptions of life (illness, adultery, violence). New elements, however, signal a darker time: UFOs have been sighted, and a young girl is missing and may have been abducted. Strout nicely interweaves these elements within the record of Amy and Isabelle's increasingly charged relationship. She catches, with an admirable restraint, and particularity, Amy's emergent sense of self, the wild succession of emotions in adolescence, and Amy's stunning discovery of sex. She also renders a wonderfully nuanced portrait of Isabelle, a bright, often angry woman who has only imperfectly replaced passion with stoicism. Matters come to a headwhen Amy and her teacher are discovered in compromising circumstances, and when members of her father's family suddenly get in touch. In less sure hands, all of this would seem merely melodramatic.

From the Publisher

"One of those rare, invigorating books that take an apparently familiar world and peer into it with ruthless intimacy, revealing a strange and startling place." —The New York Times Book Review

"Strout's insights into the complex psychology bewteen [mother and daughter] result in a poignant tale about two coming of age." —Time

"Impressive....Strout writes with abundant warmth." —People

"Poignant...sensitively imagined...[Amy and Isabelle] recalls the elgegiac charm of Our Town." —The Christian Science Monitor

"Stunning....Every once in a while, a novel comes along that plunges deep into your psyche, leaving you breathless....This year that novel is Amy and Isabelle." —San Francisco Chronicle

"A novel of shining integrity and humor, about the bravery and hard choices of what is called ordinary life." —Alice Munro

"Excellent....Strout's collective portrait...remains unflaggingly engaging....[W]hat a pleasure to gain entry into the world of this book." —The New Yorker

"Lovely, powerful...a kind if modern 'Rapunzel.'" —Newsweek

"Amy and Isabelle is an impressive debut....with an expansiveness and inventiveness that is the mark of a true storyteller." —The Philadelphia Inquirer

OCT/NOV 00 - AudioFile

Amy Goodrow wants a new mother. Isabelle Goodrow never expected to be one but has struggled for the last 16 years to do it properly. Both have to marshal all the power of their situations, though it will still not be enough when Isabelle finds her daughter has fallen in love with her math teacher. The explosion that follows raises them both to new levels of understanding and compassion. Reader Stephanie Roberts seems to love her characters and pulls their voices out of herself, not just for Amy and Isabelle, but for the others as well. Stacy, Amy’s brassy friend, and Fat Bev, whom she works with in the mill, become almost Dickensian voices that ring inside us long after the tape is over. P.E.F. © AudioFile 2000, Portland, Maine

Product Details

BN ID: 2940171787011
Publisher: Penguin Random House
Publication date: 11/12/2013
Edition description: Unabridged

Read an Excerpt

Isabelle, unable to contain her curiosity and telling herself that all things considered she had every right to know, said finally, "Who were you talking to on the telephone?"

"Stacy Burrows." This was said flatly, right before hamburger meat was pushed into Amy's mouth.

Isabelle sliced one of the canned beets on her plate, trying to place this Stacy girl's face.

"Blue eyes?"

"What?"

"Is she the girl with the big blue eyes and red hair?"

"I guess so." Amy frowned slightly. She was annoyed at the way her mother's face was tilted on the end of her long neck, like some kind of garter snake. And she hated the smell of baby powder.

"You guess so?"

"I mean, yeah, that's her."

There was the faint sound of silverware touching the plates; they both chewed so quietly their mouths barely moved.

"What is it her father does for a living?" Isabelle eventually asked. "Is he connected to the college somehow?" She knew he was certainly not connected to the mill.

Amy shrugged with food in her mouth. "Mmm-know."

"Well you must have some idea what the man does for a living."

Amy took a swallow of milk and wiped her mouth with her hand.

"Please." Isabelle dropped her eyelids with disgust, and Amy wiped with a napkin this time.

"He teaches there, I guess," Amy acknowledged.

"Teaches what."

"Psychology. I think."

There was nothing to say to that. If it was true, then to Isabelle it meant simply that the man was crazy. She did not know why Amy needed to choose the daughter of a crazy man to be friends with. She pictured him with a beard, and then remembered that theMr. Robertson horror had had a beard as well, and her heart began to beat so fast she became almost breathless. The scent of baby powder rose from her chest.

"What," said Amy, looking up, although her head was still bent forward over her plate, a piece of toast, the inner edge soggy and bloodied with meat, about to go into her mouth.

Isabelle shook her head and gazed past her at the white curtain that billowed slightly in the window. It was like a car accident, she thought. How afterward you kept saying to yourself, If only the truck had already gone through the intersection by the time I got there. If only Mr. Robertson had passed through town before Amy got to high school. But you get into your car, your mind on other things, and all the while the truck is rumbling off the exit ramp, pulling into town, and you are pulling into town. And then it's over and your life will never be the same.

Isabelle rubbed crumbs from her fingertips. Already it seemed hard to remember what their lives had been like before this summer. There had been anxieties-Isabelle could certainly remember that. There was never enough money, and it seemed she always had a run in her stocking (Isabelle never wore stockings that had a run, except when she lied about it and said it had just happened), and Amy had school projects due, some foolish relief map requiring clay and foam rubber, a sewing project in home ec class-those things cost money too. But now, eating her hamburger and toast across from her daughter (this stranger) while the hazy early evening sunlight fell against the stove and across the floor, Isabelle was filled with longing for those days, for the privilege of worrying about ordinary things.

She said, because the silence of their eating was oppressive, and because she did not dare, somehow, return to the subject of Stacy, "That Bev. She really smokes too much. And she eats too much too."

"I know," Amy answered.

"Use your napkin, please." She couldn't help it: the sight of Amy licking ketchup from her fingers made her almost insane. Just like that, anger reared its ready head and filled Isabelle's voice with coldness. Only there might have been more than coldness, to be honest. To be really honest, you might say there had been the edge of hatred in her voice. And now Isabelle hated herself as well. She would take the remark back if she could, except it was too late, and poking at a sliced beet with her fork, she saw how Amy rolled her paper napkin beneath her palm, then put it on her plate.

"She's nice, though," Amy said. "I think Fat Bev is nice."

"No one said she wasn't nice."

The evening stretched before them interminably; the hazy, muted sunlight had barely moved across the floor. Amy sat with her hands in her lap, her neck thrust forward like one of those foolish toy dogs you could sometimes see in the back of a car, whose head wagged back and forth at stop signs. "Oh, sit up straight," Isabelle wanted to say, but instead she said wearily, "You may be excused. I'll do the dishes tonight."

Amy seemed to hesitate.

In the olden days one would not leave the table until the other one was through. This practice, this courtesy, dated back to when Amy was a toddler, a slow eater always, perched on top of two Sears catalogues placed on her chair, her skinny legs dangling down. "Mommy," she would say anxiously, seeing that Isabelle was done with her meal, "will you still sit with me?" And Isabelle always sat. Many nights Isabelle was tired and restless, and frankly, she would have preferred to spend the time flipping through a magazine to relax, or at least to get up and get started on the dishes. And yet she would not tell the child to hurry, she did not want to upset that small digestive tract. It was their time together. She sat.

Those days Amy had stayed at Esther Hatch's house while Isabelle was at work. An awful place, that Hatch house was-a run-down farmhouse on the outskirts of town, filled with babies and cats and the smell of cat urine. But it was the only arrangement Isabelle could afford. What was she supposed to do? She hated leaving Amy there, though, hated how Amy never said good-bye, how she would go immediately to the front window instead, climbing up on the couch to watch her mother drive away. Sometimes Isabelle would wave without looking as she backed down the driveway, because she couldn't bear to look. It was like something had been pushed down her throat to see Amy at the window like that, with her pale, unsmiling face. Esther Hatch said she never cried.

But there was one period of time when Amy would do nothing except sit in a chair, and Esther Hatch complained that it gave her the willies, that if Amy couldn't get up and run around like a normal child she wasn't sure she could keep taking her in. This made Isabelle panic. She bought Amy a doll at Woolworth's, a plastic thing with springy, coarse platinum hair. The head fell off right away, but Amy seemed to love it. Not the doll so much as the head of the doll. She carried the head everywhere she went, and colored the plastic lips red. And apparently she stopped confining herself to a chair at Esther Hatch's house, because the woman did not complain to Isabelle again.

But it was clear, then, why Isabelle would sit with the girl each night at their table in the kitchen. "Sing Itty Bitty Spider?" Amy might ask sweetly, squeezing a lima bean between her small fingers. And Isabelle-it was horrible-would say no. She would say no, she was too tired. But Amy was such a sweet little thing-she was so happy to have her mother right there, a mere arm's length across the table. Her legs would swing with happiness, her small wet mouth open in a smile, tiny teeth like white pebbles set in her pink gums.

Isabelle closed her eyes, a familiar ache beginning in the center of her breastbone. But she had sat there, hadn't she? She had done that.

"Please," she said now, opening her eyes. "You may be excused." Amy got up and left the room.


The curtain moved again. This was a good sign, if Isabelle had been able to think about it that way, the evening air moving enough to move the curtain, a breeze strong enough to ripple the curtain lightly, holding itself out from the sill for a moment as though it were the dress of a pregnant woman, and then, just as quickly, silently falling back in its place, a few of its folds touching the screen. But Isabelle did not think that at least there was a breeze. She thought instead that the curtains needed to be washed, that they had not been washed in quite some time.

Casting her eye about the kitchen, she was glad to see that at least the faucets shone, and the counters did not seem streaky, as they sometimes did, with the dried remains of cleanser. And there was the Belleek china creamer that had belonged to her mother, the delicate, shell-like, shimmering thing. Amy was the one who had brought it down from the cupboard a few months before and suggested they use it each night. "It was your mother's," Amy said, "and you like it so much." Isabelle had said all right. But now, suddenly, it seemed dangerous; a thing so easily to be swept by a sleeve, a bare arm, and smashed to bits on the floor.

Isabelle rose and wrapped the leftover part of her hamburger in wax paper and put it in the refrigerator. She washed the plates, red-stained water from the beets swirling into the white sink. Only when the dishes were done and put away did she wash the Belleek china creamer. She washed it carefully, and dried it carefully, then put it far back in the cupboard, where it couldn't be seen.

She heard Amy come out of her bedroom and move to the top of the stairs. Just as Isabelle was about to say that she didn't want the Belleek creamer used anymore, that it was too special a thing and too apt to get broken, Amy called down the stairs, "Mom, Stacy's pregnant. I just wanted you to know."

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