Über die Autorin bzw. den Autor

Francine Prose is the author of twenty-three works of fiction including the highly acclaimed Five Weeks in the Country; The Vixen; Mister Monkey; the New York Times bestseller Lovers at the Chameleon Club, Paris 1932; A Changed Man, which won the Dayton Literary Peace Prize; and Blue Angel, which was a finalist for the National Book Award. Her works of nonfiction include the highly praised 1974: A Personal History, Anne Frank: The Book, The Life, The Afterlife, and the New York Times bestseller Reading Like a Writer, which has become a classic. The recipient of numerous grants and honors, including a Guggenheim and a Fulbright, a Director’s Fellow at the Center for Scholars and Writers at the New York Public Library, Prose is a former president of PEN American Center, and a member of the American Academy of Arts and Letters and the American Academy of Arts and Sciences. She is a Distinguished Writer in Residence at Bard College.

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It has been years since Swenson, a professor in a New England creative writing program, has published a novel. It's been even longer since any of his students have shown promise. Enter Angela Argo, a pierced, tattooed student with a rare talent for writing. Angela is just the thing Swenson needs. And, better yet, she wants his help. But, as we all know, the road to hell is paved with good intentions. . . .

Deliciously risqué, Blue Angel is a withering take on today's academic mores and a scathing tale that vividly shows what can happen when academic politics collides with political correctness.

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Blue Angel

HarperCollins Publishers, Inc.

Chapter One

Swenson waits for his students to complete their private rituals, adjusting zippers and caps, arranging the pens and notebooks so painstakingly chosen to express their tender young selves, the fidgety ballets that signal their weekly submission and reaffirm the social compact to be stuck in this room for an hour without real food or TV. He glances around the seminar table, counts nine; good, everyone's here, then riffles through the manuscript they're scheduled to discuss, pauses, and says, "Is it my imagination, or have we been seeing an awful lot of stories about humans having sex with animals?"

The students stare at him, appalled. He can't believe he said that. His pathetic stab at humor sounded precisely like what it was: a question he'd dreamed up and rehearsed as he walked across North Quad, past the gothic graystone cloisters, the Founders Chapel, the lovely two-hundred-year-old maples just starting to drop the orange leaves that lie so thickly on the cover of the Euston College viewbook. He'd hardly noticed his surroundings, so blindly focused was he on the imminent challenge of leading a class discussion of a student story in which a teenager, drunk and frustrated after a bad date with his girlfriend, rapes an uncooked chicken by the light of the family fridge.

How is Swenson supposed to begin? What he really wants to ask is: Was this story written expressly to torment me? What little sadist thought it would be fun to watch me tackle the technical flaws of a story that spends two pages describing how the boy cracks the chicken's rib cage to better fit the slippery visceral cavity around his throbbing hard-on? But Danny Liebman, whose story it is, isn't out to torture Swenson. He'd just wanted something interesting for his hero to do.

Slouched over, or sliding under, the seminar table, the students gaze at Swenson, their eyes as opaque and lidded as the eyes of the chicken whose plucked head the hero turns to face him during their late-night kitchen romance. But chickens in suburban refrigerators are generally headless. Swenson makes a mental note to mention this detail later.

"I don't get it," says Carlos Ostapcek. "What other stories about animals?" Carlos always starts off. Ex-navy, ex-reform school, he's the alpha male, the only student who's ever been anywhere except inside a classroom. As it happens, he's the only male student, not counting Danny.

What stories is Swenson talking about? He suddenly can't recall. Maybe it was some other year, another class completely. He's been having too many moments like this: a door slams shut behind him and his mind disappears. is this early Alzheimer's? He's only fortyseven. Only forty-seven? What happened in the heartbeat since he was his students' age?

Maybe his problem's the muggy heat, bizarre for late September, El Niño dumping a freak monsoon all over northern Vermont. His classroom-high in the college bell tower-is the hottest spot on campus. And this past summer, workmen painted the windows shut. Swenson has complained to Buildings and Grounds, but they're too busy fixing sidewalk holes that could result in lawsuits.

"Is something wrong, Professor Swenson?" Claris Williams inclines her handsome head, done this week in bright rows of coiled dyed-orange snails. Everyone, including Swenson, is a little in love with, and scared of, Claris, possibly because she combines such intelligent sweetness with the glacial beauty of an African princess turned supermodel.

"Why do you ask?" says Swenson.

"You groaned," Claris says. "Twice."

"Nothing's wrong." Swenson's groaning in front of his class. Doesn't that prove nothing's wrong? "And if you call me Professor again, I'll fail you for the semester."

Claris stiffens. Relax! It's only a joke! Euston students call teachers by their first names, that's what Euston parents pay twenty-eight thousand a year for. But some kids can't make themselves say Ted, the scholarship students like Carlos (who does an end run around it by calling him Coach), the Vermont farm kids like Jonelle, the black students like Claris and Makeesha, the ones least likely to be charmed by his jokey threats. Euston hardly has any students like that, but this fan, for some reason, they're all in Swenson's class.

Last week they discussed Claris's story about a girl who accompanies her mother on a job cleaning a rich woman's house, an eerily convincing piece that moved from hilarity to horror as it chronicled the havoc wreaked by the maid stumbling through the rooms, chugging Thunderbird wine, until the horrified child watches her tumble downstairs.

The students were speechless with embarrassment. They all assumed, as did Swenson, that Claris's story was maybe not literal truth, but painfully close to the facts. At last, Makeesha Davis, the only other black student, said she was sick of stories in which sisters were always messed up on dope or drunk or selling their booty or dead.

Swenson argued for Claris. He'd dragged in Chekhov to tell the class that the writer need not paint a picture of an ideal world, but only describe the actual world, without sermons, without judgment. As if his students give a shit about some dead Russian that Swenson ritually exhumes to support his loser opinions. And yet just mentioning Chekhov made Swenson feel less alone, as if he were being watched over by a saint who wouldn't judge him for the criminal fraud of pretending that these kids could be taught what Swenson's pretending to teach them. Chekhov would see into his heart and know that he sincerely wished he could give his students what they want: talent, fame, money, a job.

After the workshop on her story, Claris stayed to talk. Swenson had groped for some tactful way to tell her that he knew what it...

Excerpted from Blue Angelby Francine Prose Copyright © 2006 by Francine Prose. Excerpted by permission.
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