Happy All the Time: A Novel (Vintage Contemporaries) - Softcover

Colwin, Laurie

 
9780307474407: Happy All the Time: A Novel (Vintage Contemporaries)
Softcover
ISBN 10: 0307474402 ISBN 13: 9780307474407
Verlag: Knopf Doubleday Publishing Group, 2010

Inhaltsangabe

A modern classic first published in 1978 that is as much a sophisticated romantic comedy about the love between two partners as it is a novel about the powerful bonds shared by family members, friends, colleagues and confidants. • With a foreword by Katherine Heiny, author of Early Morning Riser.

"How is it I hadn't heard of HAPPY ALL THE TIME until now?  What a breezy, witty, nutty book. It's charm distilled."
—Maria Semple, bestselling author of Where’d You Go, Bernadette

Guido and Vincent, best friends (and third cousins), aren’t expecting to fall head-over-heels in love, but that is exactly what happens. Guido is smitten with Holly, a dazzling young woman who chafes at the idea of complacency, while Vincent falls for Misty, a work colleague with an acerbic sense of humor who seems as uninterested in romance as she is in Vincent (at first). In the months that follow, both couples will experience the rituals of courtship, jealousy, estrangement, family entanglements, and other perils of the heart as they try to find love in spite of themselves.

Colwin is a master of portraying the messiness of life: here, in hilarious and endearing prose, she follows these two improbable pairs, and their families, as they navigate and ultimately find happiness together—not all the time, but for most of it.

Die Inhaltsangabe kann sich auf eine andere Ausgabe dieses Titels beziehen.

Über die Autorin bzw. den Autor

LAURIE COLWIN is the author of five novels—Happy All the Time; Family Happiness; Goodbye Without Leaving; A Big Storm Knocked It Over; and Shine On, Bright and Dangerous Object—three collections of short stories—Passion and Affect; The Lone Pilgrim; and Another Marvelous Thing—and two collections of essays, Home Cooking and More Home Cooking. Colwin died in 1992.

Auszug. © Genehmigter Nachdruck. Alle Rechte vorbehalten.

CHAPTER 1  

     Guido Morris and Vincent Cardworthy were third cousins. No one remembered which Morris had married which Cardworthy, and no one cared except at large family gatherings when this topic was introduced and subjected to the benign opinions of all. Vincent and Guido had been friends since babyhood. They had been strolled together in the same pram and as boys were often brought together, either at the Cardworthy house in Petrie, Connecticut, or at the Morris's in Boston to play marbles, climb trees, and set off cherry bombs in trash cans and mailboxes. As teenagers, they drank beer in hiding and practiced smoking Guido's father's cigars, which did not make them sick, but happy. As adults, they both loved a good cigar.  


     At college they fooled around, spent money, and wondered what would become of them when they grew up. Guido in tended to write poetry in heroic couplets and Vincent thought he might eventually win the Nobel Prize for physics.  
      In their late twenties they found themselves together again in Cambridge. Guido had gone to law school, had put in several years at a Wall Street law firm, and had discovered that his heart was not in his work, and so he had come back to graduate school to study Romance languages and literature. He was old for a graduate student, but he had decided to give himself a few years of useless pleasure before the true responsibilities of adulthood set upon him. Eventually, Guido was to go to New York and take over the stewardship of the Morris family trust-the Magna ,Charta Foundation, which gave money to civic art projects, artists of all sorts, and groups who wished to preserve landmarks and beautify their cities. The trust put out a bimonthly magazine devoted to the arts called Runnymeade. The money for all this came from a small fortune in textiles made in the early nineteenth century by a former sea captain by the name of Robert Morris. On one of his journeys, Robert Morris had married an Italian wife. Thereafter, all Morrises had Italianate names. Guido's grandfather was Almanso. His father was Sandro. His Uncle Giancarlo was the present administrator of the trust but he was getting on and Guido had been chosen to be eventual heir.  
     Vincent had gone off to the University of London and had come back to the Massachusetts Institute of Technology. He had begun as a city planner, but his true field of interest was sanitation engineering, as it was called, although Vincent called it garbage. He was fascinated by its production, removal, and possible uses. His monographs on recycling, published in a magazine called City Limits, were beginning to make him famous in his field. He had also patented a small machine for home use that turned vegetable peelings, newspapers, and other kitchen leavings into valuable mulch, but nothing much had happened to it. Eventually he would go off to New York and give over his talent and energy to the Board of City Planning.  
      With their futures somewhat assured, they lolled around Cambridge and wondered whom they would marry.  
      One Sunday afternoon in January, Vincent and Guido found themselves perusing an exhibition of Greek vases at the Fogg Museum. The air outside was heavy and wet. Inside, it was overheated. It was the sort of day that forced you out of the house and gave you nothing back in return. They had been restless indoors, edgy out of doors, and had settled on the Fogg feeling that the sight of Greek vases might cool them out. They took several turns around. Guido delivered himself of a lecture on shape and form. Vincent gave his two minutes on the planning of the Greek city-state. None of this quieted them. They were looking for action, unsure of what kind and unwilling to seek it out. Vincent believed that the childish desire to kick tires and smash bottles against walls was never lost but relegated, in adulthood, to the subconscious where it jumped around creating just the sort of tension he was feeling. A sweaty round of handball or a couple of well-set cherry bombs would have done them both a lot of good, but it was too cold for the one and they were too refined for the other. Thus they were left with their own nerves.  
      On the way out, Guido saw a girl sitting on a bench. She was slender, fine-boned, and her hair was the blackest, sleekest hair Guido had ever seen. It was worn the way Japanese children wear theirs, only longer. Her face seemed to print itself on his heart indelibly.  
      He stopped to stare at her and when she finally looked back, she glared through him. Guido nudged Vincent and they moved toward the bench on which she sat.  
      “The perspective is perfect," said Guido. “Notice the subtlety of line and the intensity of color."
      “Very painterly," said Vincent. “What is it?"
      “I'll have to look it up," said Guido. “It appears to be an inspired mix of schools. Notice that the nose tilts-a very slight distortion giving the illusion of perfect clarity." He pointed to her collar. “Note the exquisite folds around the neck and the drapery of the rest of the figure."  
      During this recitation, the girl sat perfectly still. Then, with deliberation, she lit a cigarette.   “Notice the arc of the arm," Guido continued. The girl opened her perfect mouth.  
      “Notice the feeblemindedness that passes for wit among aging graduate students," she said. Then she got up and left.  


     The next time Guido saw her, she was getting on the bus. The weather had become savagely cold and she was struggling to get change out of her wallet but her gloves were getting in her way. Finally, she pulled off one of her gloves with her teeth. Guido watched, entranced. She wore a fur hat and two scarves. As she came down the aisle, Guido hid behind his book and stared at her all the way to Harvard Square, which was, it turned out, their common destination. They confronted each other at the newsstand. She looked him up and down and walked away.  
     Two weeks later she turned up under more felicitous circumstances. She appeared at a tearoom with a girl named Paula Pierce-Williams, whom Guido had known all his life. Paula waved at him, and he ambled over to their table.  
     “Guido, this is Holly Sturgis," said Paula. “And Holly, this is Guido Morris."  
     “We've met," said Holly Sturgis.  
     “I never see you anymore, Guido," said Paula. “Are you still working on your thesis?"  
     “I'm almost finished," said Guido.  
     “I can never remember what it's on," said Paula.
     “Medieval property law and its relationship to courtly love," said Guido. Holly Sturgis snickered.  
     Guido was not in the habit of falling in love with girls he saw on buses or in museums. He had had two serious love affairs and a small number of casual encounters. These he tried not to think about-they had puzzled and hurt him. He explained to himself that he was an old-fashioned man living in modern times, shackled with the belief that all real love affairs led to marriage. If they did not, they must in some way be bogus,...

„Über diesen Titel“ kann sich auf eine andere Ausgabe dieses Titels beziehen.

Verlag
Knopf Doubleday Publishing Group
Erscheinungsdatum
2010
Sprache
Englisch
ISBN 10 
0307474402
ISBN 13 
9780307474407
Einband
Taschenbuch
Anzahl der Seiten
224
Kontakt zum Hersteller
Nicht verfügbar
Verantwortliche Person
gpsr@libri.de
gpsr@libri.de

Friedensallee 273
Hamburg
22763
Deutschland

Weitere beliebte Ausgaben desselben Titels

9781399627511: Happy All the Time: With an introduction by Katherine Heiny (W&N Essentials)

Vorgestellte Ausgabe

ISBN 10:  1399627511 ISBN 13:  9781399627511
Verlag: W&N, 2024
Softcover