Outline

Outline

by Rachel Cusk

Narrated by Kate Lock

Unabridged — 7 hours, 17 minutes

Outline

Outline

by Rachel Cusk

Narrated by Kate Lock

Unabridged — 7 hours, 17 minutes

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Overview

A luminous, powerful novel that establishes Rachel Cusk as one of the finest writers in the English language.

A man and a woman are seated next to each other on a plane. They get to talking-about their destination, their careers, their families. Grievances are aired, family tragedies discussed, marriages and divorces analyzed. An intimacy is established as two strangers contrast their own fictions about their lives.

Outline is a novel in ten conversations. Spare and stark, it follows a novelist teaching a course in creative writing during one oppressively hot summer in Athens. She leads her students in storytelling exercises. She meets other visiting writers for dinner and discourse. She goes swimming in the Ionian Sea with her neighbor from the plane. The people she encounters speak volubly about themselves: their fantasies, anxieties, pet theories, regrets, and longings. And through these disclosures, a portrait of the narrator is drawn by contrast, a portrait of a woman learning to face a great loss.

Outline takes a hard look at the things that are hardest to speak about. It brilliantly captures conversations, investigates people's motivations for storytelling, and questions their ability to ever do so honestly or unselfishly. In doing so it bares the deepest impulses behind the craft of fiction writing. This is Rachel Cusk's finest work yet and one of the most startling, brilliant, original novels of recent years.


Editorial Reviews

The New York Times Book Review - Heidi Julavits

…lethally intelligent…While the narrator is rarely alone, reading Outline mimics the sensation of being underwater, of being separated from other people by a substance denser than air. But there is nothing blurry or muted about Cusk's literary vision or her prose: Spend much time with this novel and you'll become convinced she is one of the smartest writers alive. Her narrator's mental clarity can seem so hazardously penetrating, a reader might fear the same risk of invasion and exposure. Cusk is also—this sounds ridiculous—but she is also noticeably an adult. She writes about adult topics with sagacity and authority. Well-worn subjects—adultery, divorce, ennui—become freshly menacing under her gaze.

The New York Times - Dwight Garner

…a poised and cerebral novel that has little in the way of straightforward plot yet is transfixing in its unruffled awareness of the ways we love and leave each other, and of what it means to listen to other people…While little happens in Outline, everything seems to happen. You find yourself pulling the novel closer to your face, as if it were a thriller and the hero were dangling over a snake pit. This is largely because the small conversations and monologues in Outline are, at their best, as condensed and vivid as theater…Ms. Cusk marshals a lot of gifts in this novel, and they are unconventional ones. With no straightforward narrative to hang onto, no moving in and out of rooms, she's left with the sound of her own mind, and it's a mind that is subtle, precise, melancholy. This is a novel with no wasted motion…Outline is a palate cleanser, an authoritative bit of clarifying acid, here when needed.

Publishers Weekly

★ 10/27/2014
On an airplane to Athens, Greece, where she plans to teach a summer school course, English writer Faye strikes up a conversation with the passenger sitting next to her, a verbose elderly gentleman. The two chat for the entire flight, and days later, Faye allows the man to take her swimming aboard his boat, where she learns about his multiple marriages and troubled children. Thus begins this brilliant novel from Cusk (The Bradshaw Variations),who shuns fictional convention and frills in favor of a solid structure around a series of dialogues between Faye and those she encounters on her travels. While dining with old friends on two separate occasions, she hears tales of literary stalkers and near-death experiences. And within her classroom, students recount their own histories: from family pets to daily routines. Though Faye often functions as the sounding board, the reader nevertheless comes to know her—divorcée, mother—through her interjections and inquiries. These 10 remarkable conversations, told with immense control, focus a sharp eye on how we discuss family and our lives. As Faye bounces from one happenstance to the next, the words of one of her students echo on the page: “ story might merely be a series of events we believe ourselves to be involved in, but on which we have absolutely no influence at all.” (Jan.)

From the Publisher

[A] lethally intelligent novel . . . reading Outline mimics the sensation of being underwater, of being separated from other people by a substance denser than air. But there is nothing blurry or muted about Cusk's literary vision or her prose: Spend much time with this novel and you'll become convinced that she is one of the smartest writers alive.” —Heidi Julavits, The New York Times Book Review

Outline is a poised and cerebral novel that has little in the way of straightforward plot yet is transfixing in its unruffled awareness of the ways we love and leave each other, and of what it means to listen to other people . . . While little happens in Outline, everything seems to happen. You find yourself pulling the novel closer to your face, as if it were a thriller and the hero were dangling over a snake pit.” —Dwight Garner, The New York Times

“[Outline] is mesmerizing; it makes a sharp break from the conventional style of Cusk's previous work . . . Outline feels different, its world porous and continuous with ours, though not for the reasons we might expect.” —Elaine Blair, The New Yorker

“[A] quietly radical new novel . . . The result, which recalls Karl Ove Knausgaard in its effort to melt away the comforting artifice of fiction, is a kind of photonegative portrait of a women who resists concessions in life and art.” —Megan O'Grady, Vogue

“There are dozens of observations in Outline unexpected enough to stop you on the page . . . Outline has a terribly charged atmosphere, the kind very few novels achieve.” —Charles Finch, The Chicago Tribune

“[A] remarkably original novel . . . [which] offers a bracing indictment of the sentimentality that surrounds the making of art and artistic identity.” —Emily Rapp, Boston Globe

“[Outline] teems with provoking, fascinating ideas expressed in fine, apothegmatic prose.” —The Wall Street Journal

“Cusk's restrained, almost experimental prose is really not so much a novel as a meditation on identity, illusion, and the erausre of self that can occur during a marriage.” —Isabella Bledenharn, Entertainment Weekly (A-)

Outline, in the most seemingly effortless way imaginable, winds up being completely captivating: the conversations are autobiographies in miniature, with all the holes, lies and self-deceptions lurking in that wily form . . . As you'd expect in a novel so obsessed with language, Cusk's own writing is a pleasure to read — unfailingly precise and surprising . . . The ultimate and undeniably cerebral pleasure of Outline is it nudges you into being a more attentive reader and listener, more alert to the cracks in sentences and the messier realities that words can only try to contain.” —Maureen Corrigan, NPR's Fresh Air

“Intriguing, unsettling.” —People

“Intense, engrossing . . . Outline feels like a significant achievement.” —Meghan O'Rourke, Slate

“Cusk has crafted another captivating vessel for her thoughts on gender, power and storytelling.” —Boris Kachka, New York Magazine

“Interesting and beautifully written . . . The narrator's emotions about her divorce are evinced only by stories about other people's marriages and relationships. The melancholy and dignity of this approach are, by the end, quite profound.” —Marion Wink, Newsday

“A highly sophisticated and deeply affecting look at modern womanhood; but for all its introspection, there's no shortage of wordly, self-deprecating wit, making this read equal parts intellectually challenging and distinctly pleasurable.” —Caroline Goldstein, Bustle

“Cusk spares us from pontification or lofty theorizing, instead couching each conversation in sharp and incisive anecdote. Characters off-stage are palpable, memories unfold with care and precision, and each interlocutor brims with self-reflection . . . Faye's perception, her deft attention, and her exquisite intereference and interpretation make each conversation an arresting and piercing experience for the reader.” —Cecily Sailer, Dallas Morning News

“[An] audacious narrative experiment.” —Valerie Miner, San Francisco Chronicle

Outline succeeds powerfully. Among other things, it gets a great variety of human beings down on to the page with both immediacy and depth; an elemental pleasure that makes the book as gripping to read as a thriller . . . a stellar accomplishment.” —James Lasdun, The Guardian

“[T]his has to be one of the oddest, most breathtakingly original and unsettling novels I've read in a long time ... [E]very single word is earned, precisely tuned, enthralling. Outline is a triumph of attitude and daring, a masterclass in tone.” —Julie Myerson, The Observer

Outline. It defies ordinary categorisation. It is about authorial invisibility, it involves writing without showing your face. The narrator is a writer who goes to teach creative writing in Greece and becomes enmeshed in other peoples' narratives which Cusk stitches, with fastidious brilliance, into a single fabric.” —Kate Kellaway, The Guardian

“Winter bouquets should be offered to the clever and stylish Rachel Cusk: her novel Outline is smoothly accomplished, and fascinating both on the surface and in its depths.” —Hilary Mantel, The Guardian's Writers Pick the Best Books of 2014

“[Outline is] a piece of work of great beauty and ambition. Narratives are smoothed, as if by translation and retranslation, into their simplest, barest elements: parents, children, divorces, cakes, dresses, dogs. These elements then build, layer on layer, to form the most complex and exquisitely detailed patterns, swirling and whirling, wheels within wheels.” —Jenny Turner, London Review of Books

“[T]he most compelling part of Outline is its undercurrent of rage . . . [With] polished, analytical language. Cusk's writing is lovely . . . Outline is a smart ascetic exercise.” —Hannah Tennant-Moore, Bookforum

“Each sentence of Cusk's prose is a revelation about the truths that remain unknowable.” —Brigit Katz, Flavorwire

“[A] uniquely graceful and innovative piece of artistic self-possession, which achieves the rare feat of seamlessly amalgamating form and substance.” —Lucy Scholes, The Independent

“Cusk's uncompromising, often brutal intelligence is at full power. So is her technique . . . I can't think of a book that so powerfully resists summary or review . . . Inevitably, the only way to get close to the fascinating and elusive core of Outline is to read it.” —Sophie Elmhirst, Financial Times

“Never less than compelling . . . material that might have been ponderous in other hands is, here, magnetic, thanks to the mystery at the heart of Cusk's book, her exquisite lightness of touch and her glinting wit.” —Stephanie Cross, Daily Mail

“A brilliant, perceptive novel, Outline was serialised in its entirety by the Paris Review, which is probably a lot cooler than making the Man Booker shortlist.” —Paddy Kehoe, RTÉ

“Rachel Cusk breaks all the rules of creative writing . . . [Outline] captivates.” —Arifa Akbar, The Independent

Outline is an expertly crafted portrait that asks readers to look deeply into the text for discovery. Those who accept that challenge will be rewarded for the effort.” —Booklist (Starred review)

“This brilliant novel from Cusk . . . shuns fictional convention and frills in favor of a solid structure around a seris of dialogues . . . These 10 remarkable conversations, told with immense control, focus a sharp eye on how we discuss family and our lives.” —Publishers Weekly (Starred review)

“A book whose almost dream-like quality has razor-sharp edges.” —Sofka Zinovieff, Spectator

“Cool but compelling, narrow in focus perhaps, but deep in thought.” —Lesley McDowell, The Scotsman

“An utterly engaging examination of human relationships . . . a compelling read that never once flags.” —The Crack

“Described as a 'novel in ten conversations' . . . it turns out to be a clever, fresh device that dispenses with the need for much of a plot and presents instead more of a lush human collage . . . a rich, thoughtful read.” —Carol Midgley, The Times

“Sharply observed . . . everyone the narrator meets has a vivid presence.” —Suzi Feay, Literary Review

“The writing is brilliant . . . Cusk is always cerebral but I've never noticed her drollery before . . . absorbing, thought-provoking.” —Claire Harman, London Evening Standard

“Cusk confounds expectations . . . Outline is full of such wonderful surprises: subtle shifts in power and unexpectedly witty interludes.” —Elena Seymenliyska, The Telegraph

“This book about love, loss, memory, and the lies we tell ourselves and others exudes a contemplative, melancholy atmosphere tempered by Britsh author Cusk's wonderfully astute observations of people and the visual impressions created by her exquisitely strucutred sentences.” —Sally Bissell, Library Journal

Outline is a quiet, profound book about the problems of living with a sense of purpose.” —Johanna Thomas-Corr, Metro

“A tapestry of different voices, its shape emerging as if by happy accident . . . [Outline] is a clever thought experiment that's far too readable ever to feel like one.” —Lidija Haas, The Independent on Sunday

“Cusk returns to fiction and top form in a novel about the stories we tell ourselves and others . . . rich in human variety and unsentimental empathy.” —Kirkus

“Like the Higgs boson, which appears only when bombarded by electrons, Rachel Cusk's nearly nameless narrator flickers into visibility only through her encounters with a series of amazingly eloquent and fascinating interlocutors. Writing at the highest level and with the greatest technical restraint, Cusk manages to describe the painful realities of women's lives by a process of erasure that is itself responsible for that suffering. This is a novel where form and content meld so perfectly as to collapse into each other. I am so much the better for having read it. As if someone finally told me the truth by telling me everything, and nothing.” —Jeffrey Eugenides, author of The Marriage Plot

“On a flight to Greece where she is going to be teaching a creative writing class, the narrator begins talking to her neighbour. More accurately, initiating a pattern that will be repeated throughout the encounters and ‘conversations' that make up this hypnotic, funny and unsettling novel, he talks at her. Gradually her own identity emerges in response tois given shape bywhat is said to her. As one of her students puts it, the story constitutes a series of events she finds herself involved in, but on which she seems to have ‘absolutely no influence at all.' The irony, of course, is that all of these talesthe author's talehold our attention because of Cusk's unerring command of pace and tone.” —Geoff Dyer

Outline, in outline, tells the story of a British novelist newly arrived in Athens, who has been enlisted to teach a weeklong writing seminar. Upon this provocatively slight premise, Cusk has constructed a restrained, incisive narrative of high stylistic polish and stealthy emotional power. Formally inventive, astringently intellectual, and linguistically assured, Outline poses the question of where stories come from; it shows, with glittering clarity, why they matter.” —Rebecca Mead, author of My Life in Middlemarch

“I opened this book, and read a page, and then a few more pages, and I finished Outline before a day and a half had passed, and I am the slowest reader I know, and I have never felt guilty about not finishing a book. Outline is amazing. It changes the lighting on the charismatic, mad, maddening monologues so beloved in literature; here we are, on the previously invisible other side of it, seeing something brilliant and irremediably true.” —Rivka Galchen, author of American Innovations

“Rachel Cusk's Outline is full of baking light and quiet melancholy and bodies brushing past one another in the heat; it's a subtle and utterly engrossing exploration of the ways we make ourselves known to one another—in stories and anecdotes, through seductions and disputes—and yet remain opaque; how we sketch ourselves as outlines and find these outlines interrogated. Its conversations echo each other deftly, their acute insights gracefully pulling apart the seams of its carefully composed characters to show glimpses of much messier selves within: a series of searing psychic X-rays bleached by coastal light.” —Leslie Jamison, author of The Empathy Exams

The Globe and Mail

Cusk is a master of sparse, exquisite prose. . . . [Outline] successfully conveys all of her admirable honesty in the safe harbour of fiction, and somehow delivers more human truths than most memoirs ever could.

The New Yorker

Mesmerizing.

New York Times

[A] lethally intelligent novel. . . . Spend much time with this novel and you’ll become convinced that [Cusk] is one of the smartest writers alive.

Vogue

Quietly radical. . . . Ingenious.

Toronto Star

Beautiful.

The Observer

One of the most daringly original and entertaining pieces of fiction I’ve ever read.

The New Yorker

Mesmerizing.

The Guardian's Writers Pick the Best Books of 201 Hilary Mantel


Winter bouquets should be offered to the clever and stylish Rachel Cusk: her novel Outline is smoothly accomplished, and fascinating both on the surface and in its depths.

Kirkus Reviews

2014-10-02
Following an off-key memoir (Aftermath, 2012), Cusk returns to fiction and top form in a novel about the stories we tell ourselves and others.The nameless narrator is on a plane from London to Athens to teach a summer writing course when an older Greek man begins to confide in her about his unhappy childhood. After learning the narrator is divorced, he tells her about his own marital misadventures. "So much is lost…in the shipwreck," he says mournfully. It's the first of many keening conversation she has with her students, Greek friends and fellow writers. They reveal marriages splintered when shared assumptions diverge; parents wearied by their children's demands but ambivalent when they cease; the struggle to give up comforting illusions and face reality—but then again, don't we all construct our own realities? (That question, unsurprisingly, especially preoccupies her younger students.) As they pour forth the particulars of their lives, the narrator sparingly doles out some of hers while coping with texts and phone calls from her needy sons. Pained by the disconnect "between the things I wanted and the things I could apparently have," she says, "I had decided to want nothing at all….I was trying to find a different way of living in the world." The existential musing can get somewhat abstract, but it's grounded by Cusk's knack for telling details: the slightly reddened eyes of the narrator's friend who asks for a nonalcoholic beer or the vivid makeup of a woman whose unfaithful husband has just redecorated his office entirely in white. The individual stories collectively suggest that self-knowledge is a poor substitute for happiness, but perhaps readers can find some hope from the narrator's admission that she can't shake "this desire to be free…despite having proved that everything about it was illusory." Dark, for sure, but rich in human variety and unsentimental empathy: a welcome change from the cloistered, self-absorbed feel of Arlington Park (2007) and The Bradshaw Variations (2010).

Product Details

BN ID: 2940175711159
Publisher: Blackstone Audio, Inc.
Publication date: 04/12/2022
Series: The Outline Trilogy , #1
Edition description: Unabridged

Read an Excerpt

CHAPTER 1

Before the flight I was invited for lunch at a London club with a billionaire I'd been promised had liberal credentials. He talked in his open-necked shirt about the new software he was developing, that could help organisations identify the employees most likely to rob and betray them in the future. We were meant to be discussing a literary magazine he was thinking of starting up: unfortunately I had to leave before we arrived at that subject. He insisted on paying for a taxi to the airport, which was useful since I was late and had a heavy suitcase.

The billionaire had been keen to give me the outline of his life story, which had begun unprepossessingly and ended – obviously – with him being the relaxed, well-heeled man who sat across the table from me today. I wondered whether in fact what he wanted now was to be a writer, with the literary magazine as his entrée. A lot of people want to be writers: there was no reason to think you couldn't buy your way into it. This man had bought himself in, and out, of a great many things. He mentioned a scheme he was working on, to eradicate lawyers from people's personal lives. He was also developing a blueprint for a floating wind farm big enough to accommodate the entire community of people needed to service and run it: the gigantic platform could be located far out to sea, thus removing the unsightly turbines from the stretch of coast where he was hoping to pilot the proposal and where, incidentally, he owned a house. On Sundays he played drums in a rock band, just for fun. He was expecting his eleventh child, which wasn't as bad as it sounded when you considered that he and his wife had once adopted quadruplets from Guatemala. I was finding it difficult to assimilate everything I was being told. The waitresses kept bringing more things, oysters, relishes, special wines. He was easily distracted, like a child with too many Christmas presents. But when he put me in the taxi he said, enjoy yourself in Athens, though I didn't remember telling him that was where I was going.

On the tarmac at Heathrow the planeful of people waited silently to be taken into the air. The air hostess stood in the aisle and mimed with her props as the recording played. We were strapped into our seats, a field of strangers, in a silence like the silence of a congregation while the liturgy is read. She showed us the life jacket with its little pipe, the emergency exits, the oxygen mask dangling from a length of clear tubing. She led us through the possibility of death and disaster, as the priest leads the congregation through the details of purgatory and hell; and no one jumped up to escape while there was still time. Instead we listened or half-listened, thinking about other things, as though some special hardness had been bestowed on us by this coupling of formality with doom. When the recorded voice came to the part about the oxygen masks, the hush remained unbroken: no one protested, or spoke up to disagree with this commandment that one should take care of others only after taking care of oneself. Yet I wasn't sure it was altogether true.

On one side of me sat a swarthy boy with lolling knees, whose fat thumbs sped around the screen of a gaming console. On the other was a small man in a pale linen suit, richly tanned, with a silver plume of hair. Outside, the turgid summer afternoon lay stalled over the runway; little airport vehicles raced unconstrained across the flat distances, skating and turning and circling like toys, and further away still was the silver thread of the motorway that ran and glinted like a brook bounded by the monotonous fields. The plane began to move, trundling forward so that the vista appeared to unfreeze into motion, flowing past the windows first slowly and then faster, until there was the feeling of effortful, half-hesitant lifting as it detached itself from the earth. There was a moment in which it seemed impossible that this could happen. But then it did.

The man to my right turned and asked me the reason for my visit to Athens. I said I was going there for work.

'I hope you are staying near water,' he said. 'Athens will be very hot.'

I said I was afraid that was not the case, and he raised his eyebrows, which were silver and grew unexpectedly coarsely and wildly from his forehead, like grasses in a rocky place. It was this eccentricity that had made me answer him. The unexpected sometimes looks like a prompting of fate.

'The heat has come early this year,' he said. 'Normally one is safe until much later. It can be very unpleasant if you aren't used to it.'

In the juddering cabin the lights flickered fitfully on; there was the sound of doors opening and slamming, and tremendous clattering noises, and people were stirring, talking, standing up. A man's voice was talking over the intercom; there was a smell of coffee and food; the air hostesses stalked purposefully up and down the narrow carpeted aisle and their nylon stockings made a rasping sound as they passed. My neighbour told me that he made this journey once or twice a month. He used to keep a flat in London, in Mayfair, 'but these days,' he said with a matter-of-fact set to his mouth, 'I prefer to stay at the Dorchester.'

He spoke a refined and formal kind of English that did not seem wholly natural, as though at some point it had been applied to him carefully with a brush, like paint. I asked him what his nationality was.

'I was sent to an English boarding school at the age of seven,' he replied. 'You might say I have the mannerisms of an Englishman but the heart of a Greek. I am told,' he added, 'it would be much worse the other way around.'

His parents were both Greeks, he continued, but at a certain moment they had relocated the whole household – themselves, four sons, their own parents and an assortment of uncles and aunts – to London, and had begun to conduct themselves in the style of the English upper classes, sending the four boys away to school and establishing a home that became a forum for advantageous social connections, with an inexhaustible stream of aristocrats, politicians and money-makers crossing the threshold. I asked how it was that they had gained access to this foreign milieu, and he shrugged.

'Money is a country all its own,' he said. 'My parents were ship-owners; the family business was an international enterprise, despite the fact that we had lived until now on the small island where both of them were born, an island you would certainly not have heard of, despite its prolixity to some wellknown tourist destinations.'

Proximity, I said. I think you mean proximity.

'I do beg your pardon,' he said. 'I mean, of course, proximity.'

But like all wealthy people, he continued, his parents had long outgrown their origins and moved in a borderless sphere among other people of wealth and importance. They retained, of course, a grand house on the island, and that remained their domestic establishment while their children were young; but when the time came to send their sons to school, they relocated themselves to England, where they had many contacts, including some, he said rather proudly, that brought them at least to the peripheries of Buckingham Palace.

Theirs had always been the pre-eminent family of the island: two strains of the local aristocracy had been united by the parental marriage, and what's more, two shipping fortunes consolidated. But the culture of the place was unusual in that it was matriarchal. It was women, not men, who held authority; property was passed not from father to son but from mother to daughter. This, my neighbour said, created familial tensions that were the obverse to those he encountered on his arrival in England. In the world of his childhood, a son was already a disappointment; he himself, the last in a long line of such disappointments, was treated with a special ambivalence, in that his mother wished to believe he was a girl. His hair was kept in long ringlets; he was clothed in dresses and called by the girl's name his parents had chosen in expectation of being given at long last an heir. This unusual situation, my neighbour said, had ancient causes. From its earliest history, the island economy had revolved around the extraction of sponges from the sea bed, and the young men of the community had acquired the skill of deep diving out at sea. But it was a dangerous occupation and hence their life expectancy was extraordinarily low. In this situation, by the repeated death of husbands, the women had gained control of their financial affairs and what's more had passed that control on to their daughters.

'It is hard,' he said, 'to imagine the world as it was in the heyday of my parents, in some ways so pleasurable and in others so callous. For example, my parents had a fifth child, also a boy, whose brain had been damaged at birth, and when the household moved they simply left him there on the island, in the care of a succession of nurses whose credentials – in those days and from that distance – I'm afraid no one cared to investigate too closely.'

He lived there still, an ageing man with the mind of an infant, unable, of course, to give his own side of the story. Meanwhile my neighbour and his brothers entered the chilly waters of an English public school education, learning to think and speak like English boys. My neighbour's ringlets were clipped off, much to his relief, and for the first time in his life he experienced cruelty, and along with it certain new kinds of unhappiness: loneliness, homesickness, the longing for his mother and father. He rifled around in the breast pocket of his suit and took out a soft black leather wallet, from which he extracted a creased monochrome photograph of his parents: a man of rigidly upright bearing in a fitted sort of frock coat buttoned to the throat, whose parted hair and thick straight brows and large scrolled moustache were so black as to give him an appearance of extraordinary ferocity; and beside him, a woman with an unsmiling face as round and hard and inscrutable as a coin. The photograph was taken in the late nineteen-thirties, my neighbour said, before he himself was born. The marriage was already unhappy, however, the father's ferocity and the mother's intransigence being more than cosmetic. Theirs was a tremendous battle of wills, in which no one ever succeeded in separating the combatants; except, very briefly, when they died. But that, he said with a faint smile, is a story for another time.

All this time, the air hostess had been advancing slowly along the aisle, pushing a metal trolley from which she was dispensing plastic trays of food and drink. She had now come to our row: she passed along the white plastic trays, and I offered one to the boy on my left, who silently lifted up his gaming console with both hands so that I could place it on the folded-down table in front of him. My right-hand neighbour and I lifted the lids of ours, so that tea could be poured into the white plastic cups that came with the tray. He began to ask me questions, as though he had learned to remind himself to do so, and I wondered what or who had taught him that lesson, which many people never learn. I said that I lived in London, having very recently moved from the house in the countryside where I had lived alone with my children for the past three years, and where for the seven years before that we had lived together with their father. It had been, in other words, our family home, and I had stayed to watch it become the grave of something I could no longer definitively call either a reality or an illusion.

There was a pause in which we drank our tea, and ate the soft cake-like little biscuits that came with it. Through the windows was a purple near-darkness. The engines roared steadily. The inside of the plane had become darker too, intersected with beams from the overhead spotlights. It was difficult to study my neighbour's face from the adjacent seat but in the light-inflected darkness it had become a landscape of peaks and crevices, from the centre of which rose the extraordinary hook of his nose, casting deep ravines of shadow on either side so that I could barely see his eyes. His lips were thin and his mouth wide and slightly gaping; the part between his nose and upper lip was long and fleshy and he touched it frequently, so that even when he smiled his teeth remained hidden. It was impossible, I said in response to his question, to give the reasons why the marriage had ended: among other things a marriage is a system of belief, a story, and though it manifests itself in things that are real enough, the impulse that drives it is ultimately mysterious. What was real, in the end, was the loss of the house, which had become the geographical location for things that had gone absent and which represented, I supposed, the hope that they might one day return. To move from the house was to declare, in a way, that we had stopped waiting; we could no longer be found at the usual number, the usual address. My younger son, I told him, has the very annoying habit of immediately leaving the place where you have agreed to meet him, if you aren't there when he arrives. Instead he goes in search of you, and becomes frustrated and lost. I couldn't find you! he cries afterwards, invariably aggrieved. But the only hope of finding anything is to stay exactly where you are, at the agreed place. It's just a question of how long you can hold out.

'My first marriage,' my neighbour replied, after a pause, 'often seems to me to have ended for the silliest of reasons. When I was a boy I used to watch the hay-carts coming back from the fields, so overloaded it seemed a miracle they didn't tip. They would jolt up and down and sway alarmingly from side to side, but amazingly they never went over. And then one day I saw it, the cart on its side, the hay spilled all over the place, people running around shouting. I asked what had happened and the man told me they had hit a bump in the road. I always remembered that,' he said, 'how inevitable it seemed and yet how silly. And it was the same with my first wife and me,' he said. 'We hit a bump in the road, and over we went.'

It had, he now realised, been a happy relationship, the most harmonious of his life. He and his wife had met and got engaged as teenagers; they had never argued, until the argument in which everything between them was broken. They had two children, and had amassed considerable wealth: they had a large house outside Athens, a London flat, a place in Geneva; they had horses and skiing holidays and a forty-foot yacht moored in the waters of the Aegean. They were both still young enough to believe that this principle of growth was exponential; that life was only expansive, and broke the successive vessels in which you tried to contain it in its need to expand more. After the argument, reluctant to move definitively out of the house, my neighbour went to live on the yacht in its mooring. It was summer and the yacht was luxurious; he could swim, and fish, and entertain friends. For a few weeks he lived in a state of pure illusion which was really numbness, like the numbness that follows an injury, before pain starts to make its way through it, slowly but relentlessly finding a path through the dense analgesic fog. The weather broke; the yacht became cold and uncomfortable. His wife's father summoned him to a meeting at which he was asked to relinquish any claim on their shared assets, and he agreed. He believed he could afford to be generous, that he would make it all back again. He was thirty-six years old and still felt the force of exponential growth in his veins, of life straining to burst the vessel in which it had been contained. He could have it all again, with the difference that this time he would want what he had.

'Though I have discovered,' he said, touching his fleshy upper lip, 'that that is harder than it sounds.'

(Continues…)


Excerpted from "Outline"
by .
Copyright © 2014 Rachel Cusk.
Excerpted by permission of Farrar, Straus and Giroux.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
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