Kathryn Harrisons Buch ist die klassische Geschichte einer Tochter: Mit der abgöttisch geliebten Mutter, von der sie abgelehnt wird, weil Kathryn in ihren Augen der Grund für die Trennung von ihrem Mann ist; mit dem Vater, der unter dem Vorwand, seine Tochter sehen zu wollen einzig an dem Zusammentreffen mit der Mutter interessiert ist; mit den Großeltern, die das Kind benutzten, um ihr liebstes Besitztum, die Tochter, nicht aus den Händen geben zu müssen.
In einem unterscheidet sich diese Geschichte jedoch von anderen dieser Art: Mit Anfang zwanzig läßt Kathryn sich auf ein Liebesverhältnis mit dem eigenen Vater ein. Sie glaubt, endlich einen Menschen gefunden zu haben, der sie so sieht, wie sie wirklich ist. Die Beziehung hält einige Jahre an.
Sie bricht alle Kontakte ab, gibt ihr Studium auf und lebt nur noch für die Treffen mit dem Vater. Sie ist fasziniert und entsetzt zugleich von seinem obsessiven Verhalten. Im Zusammensein mit ihrem Vater wird Kathryn jeoch immer bewußter, daß die entscheidende Person ihrer Beziehung die Mutter ist. Beide kämpfen um die Liebe - und beide verlieren.
Sensibel und zugleich distanziert schildert Kathryn Harrison ihre Geschichte, die nicht nur eine Liebesgeschichte mit dem eigenen Vater ist, sondern eine Liebesgeschichte mit all den geliebten Menschen ihrer Kindheit.
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Kathryn Harrison's novels include Thicker than Water and Exposure, both New York Times Notable Books, and Poison, called "powerful and hypnotic" by The New York Times and "a masterpiece" by Lucy Grealy. Harrison lives in New York.
aordinary memoir, one of the best young writers in America today transforms into a work of art the darkest passage imaginable in a young woman's life: an obsessive love affair between father and daughter that began when Kathryn Harrison, twenty years old, was reunited with a parent whose absence had haunted her youth.
Exquisitely and hypnotically written, like a bold and terrifying dream, The Kiss is breathtaking in its honesty and in the power and beauty of its creation. A story both of taboo and of family complicity in breaking taboo, The Kiss is also about love -- about the most primal of love triangles, the one that ensnares a child between mother and father.
We meet at airports. We meet in cities where we've never been before. We meet where no one will recognize us.
One of us flies, the other brings a car, and in it we set out for some destination. Increasingly, the places we go are unreal places: the Petrified Forest, Monument Valley, the Grand Canyon -- places as stark and beautiful and deadly as those revealed in satellite photographs of distant planets. Airless, burning, inhuman.
Against such backdrops, my father takes my face in his hands. He tips it up and kisses my closed eyes, my throat. I feel his fingers in the hair at the nape of my neck. I feel his hot breath on my eyelids.
We quarrel sometimes, and sometimes we weep. The road always stretches endlessly ahead and behind us, so that we are out of time as well as out of place. We go to Muir Woods in northern California, so shrouded in blue fog that the road is lost; and we drive down the Natchez Trace into deep, green Mississippi summer. The trees bear blossoms big as my head; their ivory petals drift to the ground and cover our tracks.
Separated from family and from the flow of time, from work and from school; standing against a sheer face of red rock one thousand feet high; kneeling in a cave dwelling two thousand years old; watching as a million bats stream from the mouth of Carlsbad Caverns into the purple dusk -- these nowheres and no-times are the only home we have.
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