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di Amy Grace Loyd

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14911183,056 (2.76)4
This is the author's debut novel about a young woman, haunted by loss, who rediscovers passion and possibility when she is drawn into the tangled lives of her neighbors. Five years after her young husband's death, Celia Cassill has moved from one Brooklyn neighborhood to another, but she has not moved on. The owner of a small apartment building, she has chosen her tenants for their ability to respect one another's privacy. Celia believes in boundaries, solitude, that she has a right to her ghosts. She is determined to live a life at a remove from the chaos and competition of modern life. Everything changes with the arrival of a new tenant, Hope, a dazzling woman of a certain age on the run from her husband's recent betrayal. When Hope begins a torrid and noisy affair, and another tenant mysteriously disappears, the carefully constructed walls of Celia's world are soon tested and the sanctity of her building is shattered, through violence and sex, in turns tender and dark. Ultimately, Celia and her tenants are forced to abandon their separate spaces for a far more intimate one, leading to a surprising conclusion and the promise of genuine joy. Here the author investigates interior spaces, of the body and the New York warrens in which her characters live, offering a startling emotional honesty about the traffic between men and women. This is a story about the irrepressibility of life and desire, no matter its sorrows or obstacles.… (altro)
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3.5 stars

I enjoyed Loyd's writing, but found that I wasn't all that curious about the characters. I do appreciate how she created a tiny world inside a Brooklyn brownstone that was converted to apartments. ( )
  amandanan | Jun 6, 2020 |
Sadly, this one didn't grab me, so I'm taking it back to the library and moving on. Maybe I'll try again sometime.
  karenchase | Aug 20, 2015 |
This started off okay, when I was hopeful that it was going to be about awful people having a comeuppance, but it turned out that no, the book was about the awful people. While it is true that poor decisions can be the basis for interesting stories, it's not automatic. All the poor decisions depicted here are tiresome.

Overall, I'm embarrassed it was set in New York. ( )
  delphica | Jun 9, 2015 |
Spoiler alert! I must have read good reviews of this book, but I was a little disappointing. The main character was kind of alienating. And I felt bad for the guy who left his orchids behind, along with all his other nice stuff. The assuaging of grief through violent or ugly sex was a little overwhelming; I'm not saying it doesn't happen but it was a little too much. I don't know, I told my sister that it was weird in a way that isn't the kind of weird that appeals to me. I guess a person could write a while, trying to analyze the main character, but it doesn't seem worth it to me. I think she should get some help to get over her guilt.
  franoscar | Jul 16, 2014 |
Grief and depression go hand in hand. And sometimes when they overwhelm a person, it is hard to go on being connected to the world. In Amy Grace Loyd's novel, The Affairs of Others, the main character has deliberately and intentionally closed herself off from others but her carefully constructed barriers are about to be crossed.

Celia is 30 and she's been widowed for several years, having lost her husband to cancer. After his death, she bought a brownstone composed of four apartments, three of which she rents out to others. She's vetted her tenants very carefully so that they stay self-contained and don't create any drama that might interfere with her isolation. When her upstairs neighbor has the chance to go to France, he brings in a subletter named Hope, a beautiful and vibrant woman who has been betrayed by her husband of many years. Celia is attracted to the pulsing life in Hope and she can't help but hear all of the goings on upstairs, the result of Hope's new dangerous and abusive affair, being reluctantly drawn in to Hope's messy, troubled life and then to her other tenants' lives as well.

Celia values privacy above all else although she has always had a detached interest in her tenants' comings and goings. She has no close relationships herself, holding herself remote from the possibility of feeling emotional pain like she experienced during her husband's illness. So her eventual intrusion into the lives of her neighbors is very definitely an unlooked for intimacy. She narrates her own story in semi stream of consciousness, resulting in a very reflective and sometimes navel-gazing tale. Unfortunately, Celia's remoteness extends to the reader's feelings about her as well, making her not very likable. The other characters, Hope; the elderly Mr. Caughlin, a former ferry captain who goes missing; and Angie Braunstein, whose husband leaves her when their dreams no longer coincide are not fully developed, perhaps because of Celia's long standing lack of desire to know those around her, and as such don't feel three dimensional. Celia's self-destructive and anonymous grasping at life in her random Metro encounters are tawdry and don't help her to become a character with whom the reader wants to spend more time.

The writing here is meandering and self-conscious, occasionally overwritten. The tone never really lifts out of depressing, making the whole novel feel as if there's a damp grey cloth smothering it, even where the end is meant to show hope for the future. Celia learning that continued life is about connection and that shutting herself off from it shuts her out of any meaningful life feels muted as well. This is a very character driven, psychological novel that had so much sadly unrealized potential and I was glad to finally turn the last page. ( )
  whitreidtan | Jun 28, 2014 |
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This is the author's debut novel about a young woman, haunted by loss, who rediscovers passion and possibility when she is drawn into the tangled lives of her neighbors. Five years after her young husband's death, Celia Cassill has moved from one Brooklyn neighborhood to another, but she has not moved on. The owner of a small apartment building, she has chosen her tenants for their ability to respect one another's privacy. Celia believes in boundaries, solitude, that she has a right to her ghosts. She is determined to live a life at a remove from the chaos and competition of modern life. Everything changes with the arrival of a new tenant, Hope, a dazzling woman of a certain age on the run from her husband's recent betrayal. When Hope begins a torrid and noisy affair, and another tenant mysteriously disappears, the carefully constructed walls of Celia's world are soon tested and the sanctity of her building is shattered, through violence and sex, in turns tender and dark. Ultimately, Celia and her tenants are forced to abandon their separate spaces for a far more intimate one, leading to a surprising conclusion and the promise of genuine joy. Here the author investigates interior spaces, of the body and the New York warrens in which her characters live, offering a startling emotional honesty about the traffic between men and women. This is a story about the irrepressibility of life and desire, no matter its sorrows or obstacles.

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