OCT/ NOV 03 - AudioFile
THE HOURS comprises the stories of three women--Clarissa Vaughan, who is planning a party for a dying friend in the New York of today; Laura Brown, a wife and mother who struggles with thoughts of suicide in 1950s Los Angeles; and the famed writer Virginia Woolf , who in 1930s England labors over the beginning of her novel MRS. DALLOWAY. Cunningham’s care for the work he created is evident in his narration. As do many novelists who choose to narrate their own work, he emphasizes the perfection of the words at the expense of the narrative pace. It is a reading whose pauses and up-note sentence endings more resemble the rhythm and pace of a poetry reading than a novel reading. While one might occasionally wish for a professional narrator, hearing a book the way an author hears it is an interesting experience, particularly when it is such an interesting book. A.C.S. © AudioFile 2003, Portland, Maine
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The Barnes & Noble Review
The Hours is Michael Cunningham's crystalline meditation on consciousness and identity, drawing on Virginia Woolf's 1925 novel, Mrs. Dalloway -- a postmodern masterpiece whose minimal action takes place on a single June day in postwar London.
The Hours progresses in fuguelike fashion: First we meet Clarissa Vaughan, a New York book editor dubbed "Mrs Dalloway" by her longtime friend and former lover Richard. Next, Cunningham presents Woolf herself, beginning work in 1923 on what is to become Mrs. Dalloway. And finally we are introduced to Laura Brown, a California housewife who is avidly reading Woolf's novel.
Scenes from these three narratives are presented in recurrent identical succession: "Mrs. Dalloway," Mrs. Woolf, Mrs. Brown -- all bristling with connections and startling parallels. The "Mrs. Dalloway" strand is particularly rich, filled as it is with one-to-one correspondences to Woolf's novel. But the deepest and most important thing that The Hours shares with Mrs. Dalloway is "the feeling," as Woolf called it, "that it was very, very dangerous to live even one day." Cunningham's three women proceed through the day, through the hours, trying to keep themselves psychologically intact, like someone carrying a glass of water filled to the brim through a crowd and endeavoring not to spill it. They hesitate before plunging into the day because they know how hard it is to live in the world and remain identical with oneself. And they puzzle over a universal dilemma: how to bring the self into the world without its getting broken in the process. In The Hours, Michael Cunningham has explored this dilemma with an impressive and moving subtlety worthy of his great precursor. Benjamin Kunkel
David Bahr
For those familiar with Woolf's life, The Hours...offers a well-researched and credible facsimile of the British writer and her world.
— Time Out
Entertainment Weekly
...[D]elicate characterization.
Michael Wood
A delicate, triumphant glance....A place of late-century danger but also of treasurable hours.
— The New York Times Book Review
Charles Gandee
What, he essentially asks in The Hours, is it like to grow up and be older, to succeed and fail, to have friends and lovers and children and parents who delight and disappoint, provide joy and sorrow?...Aficionados will undoubtedly relish the countless parallels between a day in the life of Clarissa Dalloway and a day in the life of Clarissa Vaughan.
—Vogue
Brooke Allen
...[W]hen a novelist has the right stuff, he can endow literally any subject with truth, poetry, and intelligence....The Hours is a meditation on age and decay, on sanity and insanity, on the nature of the creative act, on the ineradicable love for life that continues even in the face of a longing for death.
—New Criterion
Newsday
With an intimacy only another writer could muster, Cunningham portrayed the act of creation as a heroic and dangerous adventure...a contemporary masterpiece.
Richard Eder
A fictional instrument of intricacy and remarkable beauty.
— Los Angeles Times
Ann Prichard
Michael Cunningham's novel The Hours is that rare combination: a smashing lliterary tour de force and an utterly invigorating reading experience. If this book does not make you jump up from the sofa, looking at life and literature in new ways, check to see if you have a pulse.
— USA Today
...[A] glittering work of exquisite detail and refined vision...
Publishers Weekly - Publisher's Weekly
At first blush, the structural and thematic conceits of this novel — three interwoven novellas in varying degrees connected to Virginia Woolf — seem like the stuff of a graduate student's pipe dream: a great idea in the dorm room that betrays a lack of originality. But as soon as one dips into Cunningham's prologue, in which Woolf's suicide is rendered with a precise yet harrowing matter-of-factness ("She hurries from the house, wearing a coat too heavy for the weather. It is 1941. She has left a note for Leonard, and another for Vanessa."), the reader becomes completely entranced. This book more than fulfills the promise of Cunningham's 1990 debut, A Home at the End of the World, while showing that sweep does not necessarily require the sprawl of his second book, Flesh and Blood. In alternating chapters, the three stories unfold: "Mrs. Woolf," about Virginia's own struggle to find an opening for Mrs. Dalloway in 1923; "Mrs. Brown," about one Laura Brown's efforts to escape, somehow, an airless marriage in California in 1949 while, coincidentally, reading Mrs. Dalloway; and "Mrs. Dalloway," which is set in 1990s Greenwich Village and concerns Clarissa Vaughan's preparations for a party for her gay — and dying — friend, Richard, who has nicknamed her Mrs. Dalloway. Cunningham's insightful use of the historical record concerning Woolf in her household outside London in the 1920s is matched by his audacious imagining of her inner life and his equally impressive plunges into the lives of Laura and Clarissa.
The book would have been altogether absorbing had it been linked only thematically. However, Cunningham cleverly manages to pull the stories even more intimately togther in the closing pages. Along the way, rich and beautifully nuanced scenes follow one upon the other: Virginia, tired and weak, irked by the early arrival of headstrong sister Vanessa, her three children and the dead bird they bury in the backyard; Laura's afternoon escape to an L.A. hotel to read for a few hours; Clarissa's anguished witnessing of her friend's suicidal jump down an airshaft, rendered with unforgettable detail. The overall effect of this book is twofold. First, it makes a reader hunger to know all about Woolf, again; readers may be spooked at times, as Woolf's spirit emerges in unexpected ways, but hers is an abiding presence, more about living than dying. Second, and this is the gargantuan accomplishment of this small book, it makes a reader believe in the possibility and depth of a communality based on great literature, literature that has shown people how to live and what to ask of life.
Library Journal
Clarissa Dalloway certainly is a popular lady nowadays, with a recent movie and now a new book based on her life. She is, of course, the heroine of Virginia Woolf's 1925 novel about a day in the life of a proper but uninspired wife and the tragic event that changes her. In this new work by Cunningham (Flesh and Blood, LJ 4/15/95), that day's events are reflected and reinterpreted in the interwoven stories of three women: Laura, a reluctant mother and housewife of the 1940s; Clarissa, an editor in the 1990s and caretaker of her best friend, an AIDS patient; and Woolf herself, on the verge of writing the aforementioned novel. Certain themes flow from story to story: paths not taken, the need for independence, meditations on mortality. Woolf fans will enjoy identifying these scenes in a different context, but it's only at the end that the author engages more than just devoted followers with a surprisingly touching coda that stresses the common bonds the characters share. Given Woolf's popularity, this is a book all libraries should consider, with an exhortation to visit Mrs. Dalloway as well.--Marc A. Kloszewski, Indiana Free Lib., PA
New York Magazine
Ambitious. . .successful.
Elissa Schappell
Inspired. . .Michael Cunningham dazzles.
— Vanity Fair
Georgia Jones-Davis
Michael Cunningham's new novel, The Hours, is neither an homage nor a sequel to Mrs. Dalloway. It is, rather, an attempt at osmosis with the spirit of Virginia Woolf. Cunningham, the author of such well-received novels as A Home at the End of the World (1990) and Flesh and Blood (1995), has even borrowed the title that Woolf had originally intended for her elegant story about a single June day in 1923 when Clarissa Dalloway gives a party and World War I veteran Septimus Smith cracks up. The Hours, is a feat of literary acrobatics, yet in the end does not affect us as profoundly as Mrs. Dalloway. The Hours is a variation on a theme, and it's the original melody rather than the contemporary arrangement that's most memorable.
In Woolf's original, the setting is London and many of the characters are members of the British upper-middle class, just a rung below the aristocracy. Septimus' madness reflects the primary social ill of the day — the debilitated physical and mental state of many World War I veterans. Woolf's characters follow the sexual codes of the 1920s bourgeoisie. Clarissa's first passion is her friend Sally Seton, but the question of a committed lesbian relationship would never enter her mind. She rejects her more ardent suitor, Peter Walsh, in favor of a bloodless marriage to the loving but staid Richard Dalloway. Now Peter, still struck by her, turns up after years in India, just in time to attend her party.
Curiously, Cunningham opens The Hours with a chilling description of Virginia Woolf's suicide in 1941. It doesn't feel like a part of the novel that follows, which consists of three distinct narratives that overlap one another. The third takes place at the end of the 20th century. The setting is Manhattan, and the contemporary social ill is AIDS. The characters, rather than bourgeois, are members of America's artistic and academic elite. They may be rich by the world's standards, but hardly "New York rich."
Richard Brown is an award-winning novelist and poet, physically and mentally ravaged by AIDS. (He may put some readers in mind of Harold Brodkey.) Clarissa Vaughan, whose first passion was for the bisexual Richard years earlier, has settled down with the woman she loves — Sally, a public television producer. Louis, the Peter Walsh stand-in and once part of a ménage à trois with Richard and Clarissa, is back in New York just in time for the party Clarissa is throwing for Richard, to celebrate a literary award he has won.
Cunningham's writing has a luminous quality. One can easily imagine Woolf describing her sister's world as "the carnival wagon that bears Vanessa — the whole gaudy party of her, that vast life, the children and paints and lovers, the brilliantly cluttered house — [that] has passed on into the night." He reinterprets characters, gives them his own spin. Religious fanatic Miss Kilman becomes Mary Krull, a politically hardcore lesbian, as much a party pooper (of the whole human parade as well as Clarissa's little celebration) as the original. Pulling off this clever literary accomplishment shows us that the talented Michael Cunningham isn't at all afraid of Virginia Woolf.
— Salon November 10, 1998
The Missouri Review
Cunnungham's third novel, winner of this year's Pulitzer Prize, is understated and lyrical, literate and wise.
Kirkus Reviews
Steeped in the work and life of Virginia Woolf, Cunningham (Flesh and Blood) offers up a sequel to the work of the great author, complete with her own pathos and brilliance.
Cunningham tells three tales, interweaving them in cunning ways and, after the model of Mrs. Dalloway itself, allowing each only a day in the life of its central character. First comes Woolf herself, in June of 1923 (after a prologue describing her 1941 suicide). In Woolf's day (as in her writings), little "happens," though the profundities are great: Virginia works (on Mrs. Dalloway); her sister Vanessa visits; Virginia holds her madness at bay (just barely); and, over dinner, she convinces husband Leonard to move back to London from suburban Richmond. In the "Mrs. Brown" sections, a young woman named Sally Brown reads the novel Mrs. Dalloway, this in suburban L.A. (in 1949), where Sally has a three-year-old son, is pregnant again, and, preparing her husband's birthday celebration, fights off her own powerful despair.
Finally, and at greatest length, is the present-time day in June of Mrs. Dalloway, this being one Clarissa Vaughan of West 10th Street, New York City, years ago nicknamed Mrs. Dalloway by her then-lover and now-AIDS-victim Richard Brown — who, on this day in June, is to receive a major prize for poetry. Like the original Mrs. Dalloway, this Clarissa is planning a party (for Richard), goes out for flowers, observes the day, sees someone famous, thinks about life, time, the past, and love ("Now she knows: That was the moment, right then. There has been no other"). Much in fact does happen; much is lost, hoped for, feared, sometimes recovered ("It willserve as this afternoon's manifestation of the central mystery itself"), all in gorgeous, Woolfian, shimmering, perfectly-observed prose.
Hardly a false note in an extraordinary carrying on of a true greatness that doubted itself.
From the Publisher
The overall impression is that of a delicate, triumphant glance, an acknowledgement of Woolf that takes her into Cunningham's own territory, a place of late-century danger but also of treasurable hours.”
—Michael Wood, The New York Times Book Review
“An exquisitely written, kaleidoscopic work that anchors a floating postmodern world on pre-modern caissons of love, grief and transcendent longing.”
—Richard Eder, Los Angeles Times Book Review
“[Cunningham] has deftly created something original, a trio of richly interwoven tales that alternate with one another chapter by chapter, each of them entering the thoughts of a character as she moves through the small details of a day . . . Cunningham's emulation of such a revered writer as Woolf is courageous, and this is his most mature and masterful work.”
—Jameson Currier, The Washington Post Book World
“Rich and beautifully nuanced scenes follow one upon the other . . . [a] gargantuan accomplishment.”
—Publishers Weekly (starred review)
“A smashing literary tour de force and an utterly invigorating reading experience. If this book does not make you jump up from the sofa, looking at life and literature in new ways, check to see if you have a pulse.”
—Ann Prichard, USA Today
“Cunningham has created something original, a trio of richly interwoven tales...his most mature and masterful work.”
—The Washington Post Book World
“The Hours is in fact a lovely triumph. Cunningham honors both Mrs. Dalloway and its creator with unerring sensitivity, thanks to his modesty of intention and his sovereignly affecting prose . . . With his elliptical evocation of Mrs. Dalloway, he has managed to pay great but quiet tribute—reminding us of the gorgeous, ferocious beauty of what endures.”
—Gail Caldwell, The Boston Globe
“In his smart and playful new novel, Michael Cunningham has revisited, and masterfully reinvented, Virginia Woolf’s great—and greatest—novel, Mrs. Dalloway . . . The triumph of The Hours is that it somehow manages to be both artful and sincere, striking nary a false note . . . And the triumph of the book is no less the triumph of its author. Just when it seemed that it was no longer permissible to pay respect to the literature of the past, Cunningham has done so with an undeniable skill and depth of feeling.”
—Justin Cronin, Philadelphia Inquirer
“Cunningham writes beautifully about relationships, living and dying, and love…it’s hard not to audibly gasp with both pleasure and shock.”
—Detroit Free Press
“Luxurious . . . The Hours tells three interwoven stories; Woolf’s novel echoes through all of them in interesting and uncanny ways…. Cunningham writes with an empathy that approaches Woolf’s.”
—Lisa Cohen, Newsday
“The Hours is one of the most ambitious, tightly conceived, and beautifully written of this season’s fiction offerings . . . Cunningham has written lyrically, and has inhabited Woolf’s prose magnificently.”
—Amy Blair, The Boston Book Review
“Cunningham dazzles in his inspired novel The Hours.”
—Vanity Fair
“[A] fine novel . . . bringing to light the buried connection his three characters share, capturing in each the illuminating and transforming moment.”
—Dallas Morning News
“[The Hours] is both a clever tribute to the life and work of Virginia Woolf, and a brilliant examination of the quietly desperate lives of three women.”
—Seattle Times
“His language is always on key, unfailing and measured, rich without sating, and haunting in the way Woolf’s is. It is resonant with the suggestiveness of suppressed desires and unexpressed needs.”
—Alyce Miller, Chicago Tribune
“Intricate . . . richly imagined . . . a profoundly compassionate meditation on life and death.”
—Elle
“What, [Cunningham] essentially asks in The Hours, is it like to grow up and older, to succeed and fail, to have friends and lovers and children and parents who delight and disappoint, provide joy and sorrow?”
—Charles Ganee, Vogue
“[An] ambitious and largely successful attempt to weave the life and sensibility of Virginia Woolf into a story of his own characters.”
—New York
“[A] brilliant tour de force . . . His ending is surprising and stunning. This is a skillfully wrought novel thoroughly imbued with the spirit of Virginia Woolf and crafted in keeping with her rare excellence.”
—The Miami Herald
“Brilliant . . . haunting—winding skeins of words that, as they unspool, render vividly the three heroines’ complex interior lives.”
—St. Louis Post-Dispatch
“[A] remarkable new novel . . . A concise, brilliant rendering of three eras.”
—Minneapolis Star-Tribune
“Clever and beautifully rendered . . . In meshing the women’s inner lives with Woolf’s insights and themes, Cunningham creates a richly layered whole that suggests what we can reasonably ask of life.”
—The Roanoke Times
“Cunningham here undertakes perhaps one of the most daunting literary projects imaginable . . . Cunningham’s portrait of Woolf is heartbreaking . . . With The Hours, Cunningham has done the impossible: he has taken a canonical work of literature and, in reworking it, made it his own.”
—Yale Book Review
“A novel so mesmerizing and true that it echoes not only in the mind but also in the heart long after it has had its final say . . . Triumphant . . . In paying homage to one visionary writer, Cunningham has proved himself to be another.”
—New York Daily News
“Brilliant . . . It’s the work of a talented writer taking an adventurous plunge below the obvious surface of things. The Hours has the heft of flesh and blood, the subtlety of art.”
—The Hartford Courant
“At its best, and that is a lyrical, crystalline best, The Hours embodies a balance between lethal, life-changing vision and the daily, mundane work of caring, writing, and actually changing one’s world.”
—City Pages
Awards/Mentions:
National Book Critics Circle Award - Nominee, National Book Critics Circle Awards - Nominee, PEN/Faulkner Award Winner, ALA Stonewall Book Award - Winner, Boston Book Review - Nominee, Book Sense Book of the Year Award - Nominee, International IMPAC Dublin Literary Award - Nominee, Triangle Awards - Winner, National Books Critics Circle Awards - Nominee, Pulitzer Prize Winner, ALA Notable Books - Winner, Lambda Literary Award - Nominee
