Emily, Alone

Emily Maxwell ist Witwe, und ihre erwachsenen Kinder sind längst ausgezogen. Sie wünscht sich, dass ihre Enkel sie besuchen kommen und bedauert die Veränderungen in ihrer ruhigen Nachbarschaft. Als ihre Schwägerin und einzige Freundin Arlene bei einem gemeinsamen Frühstück in Ohnmacht fällt, ändert sich alles. Emily erkennt ihre verborgenen Stärken und dass das Leben jedem Menschen Möglichkeiten eröffnet, die man nur ergreifen muss.

Zusatztext Praise for Emily, Alone : O'Nan's best novel yet . . . It's heartbreaking stuffI will confess that I found myself sobbing at certain, often unexpected, points . . . and yet the novel's brilliance lies just as much in O'Nan's innate comic timing, which often stems from Emily's self-imposed isolation from, and disgust with, the modern world. . . . If O'Nan's earlier novels were influenced by Poe, the specter of Henry James hovers delicately above Emily's Grafton Street home, insinuating itself into O'Nan's spiraling, exact sentences and the beautiful, subtle symbolism that permeates the novel. The New York Times Book Review Emily is as authentic a character as any who ever walked the pages of a novel. She could be our grandmother, our mother, our next-door neighbor, our aunt. Our self . . . In a portrait filled with joy and rue, O'Nan does not wield a wide brush across a vast canvas but, rather, offers an exquisite miniature. Just as Emily prefers Van Gogh's depiction of a branch of an almond tree over the more spectacular Sunflowers , so, too, do we readers appreciate an ordinary life made, by its quiet rendering, extraordinary. No matter herand ourunavoidable end, Emily . . . teaches us that small moments not only count but also endure. Mameve Medwed, The Boston Globe It takes a deft hand to do justice to the ordinary . . . but, if the mundane matters to you, then Stewart O'Nan is your man. . . . O'Nan's glory as a writer is that he conveys the full force of the quotidian without playing it for slapstick or dressing it up as Profound. . . . Emily, Alone [is] moody, lightly comic, and absolutely captivating. . . . With economy, wit, and grace, O'Nan ushers us into the shrinking world of a pleasantly flawed, rather ordinary old woman and keeps us readers transfixed by the everyday miracles of monotony. Maureen Corrigan, Fresh Air To say that nothing happens in this [ Emily, Alone ] is like saying that there's nothing going on in that glorious room in Amsterdam's Rijksmuseum where Rembrandt's numerous portraits of his mother hang. . . . [O'Nan] is a seamless craftsman who specializes in the lives of ordinary people. In Emily Maxwell, O'Nan has created a sturdy everywoman, occasionally blemished by pettiness and disdain for common idiocy, but always striving for a moral equilibrium. San Francisco Chronicle As riveting as a fast-paced thriller, albeit one that delves into the life and psyche of an elderly woman. The Miami Herald Stewart O'Nan's books are not about poverty, life's crises, gross injustice, or family drama; in fact, there's very little drama in his works. He has become a spokespersonin modern fictionfor the regular person, the working person, and now, the elderly. . . . This is a writer who illuminates moments like that one, moments you never even noticed. . . . O'Nan's thoroughness is like a skill from another timea quieter time, when it was easier to listen. Los Angeles Times O'Nan's storytelling is as patient and meticulous as his heroine. He illuminates the everyday with splendid precision. Readers who appreciate psychological nuance and fictional filigree will delight in Emily, Alone . Stephen Amidon, The Globe and Mail (Toronto) Emily stretches for a kind of rediscovery. Throughout she is lovable and heartbreaking and real. When this novel ends, in a moment of great hope and vigor, you'll find yourself missing her terribly. Entertainment Weekly (Grade A) O'Nan gives each small experience an emotional heft, and he's supremely skilled at revealing Emily's emotional investment in every small change in her life. . . . [A] plainspoken but brassy, somber but straight-talking [tone] infuses this entire nervy, elegant book. Minneapolis Star Tribune [O'Nan] is an...

Praise for Emily, Alone:
 
“O’Nan’s best novel yet . . . It’s heartbreaking stuff—I will confess that I found myself sobbing at certain, often unexpected, points . . . and yet the novel’s brilliance lies just as much in O’Nan’s innate comic timing, which often stems from Emily’s self-imposed isolation from, and disgust with, the modern world. . . . If O’Nan’s earlier novels were influenced by Poe, the specter of Henry James hovers delicately above Emily’s Grafton Street home, insinuating itself into O’Nan’s spiraling, exact sentences and the beautiful, subtle symbolism that permeates the novel.”
—*The New York Times Book Review

• “Emily is as authentic a character as any who ever walked the pages of a novel. She could be our grandmother, our mother, our next-door neighbor, our aunt. Our self . . . In a portrait filled with joy and rue, O’Nan does not wield a wide brush across a vast canvas but, rather, offers an exquisite miniature. Just as Emily prefers Van Gogh’s depiction of a branch of an almond tree over the more spectacular Sunflowers, so, too, do we readers appreciate an ordinary life made, by its quiet rendering, extraordinary. No matter her—and our—unavoidable end, Emily . . . teaches us that small moments not only count but also endure.”
  —Mameve Medwed, *The Boston Globe
• “It takes a deft hand to do justice to the ordinary . . . but, if the mundane matters to you, then Stewart O’Nan is your man. . . . O’Nan’s glory as a writer is that he conveys the full force of the quotidian without playing it for slapstick or dressing it up as Profound. . . . Emily, Alone [is] moody, lightly comic, and absolutely captivating. . . . With economy, wit, and grace, O’Nan ushers us into the shrinking world of a pleasantly flawed, rather ordinary old woman and keeps us readers transfixed by the everyday miracles of monotony.”
  —Maureen Corrigan, *Fresh Air
• “To say that nothing happens in this [Emily, Alone] is like saying that there’s nothing going on in that glorious room in Amsterdam’s Rijksmuseum where Rembrandt’s numerous portraits of his mother hang. . . . [O’Nan] is a seamless craftsman who specializes in the lives of ordinary people. In Emily Maxwell, O’Nan has created a sturdy everywoman, occasionally blemished by pettiness and disdain for common idiocy, but always striving for a moral equilibrium.”
  —*San Francisco Chronicle
• “As riveting as a fast-paced thriller, albeit one that delves into the life and psyche of an elderly woman.”
  —*The Miami Herald
• “Stewart O’Nan’s books are not about poverty, life’s crises, gross injustice, or family drama; in fact, there’s very little drama in his works. He has become a spokesperson—in modern fiction—for the regular person, the working person, and now, the elderly. . . . This is a writer who illuminates moments like that one, moments you never even noticed. . . . O’Nan’s thoroughness is like a skill from another time—a quieter time, when it was easier to listen.”
  —*Los Angeles Times
• “O’Nan’s storytelling is as patient and meticulous as his heroine. He illuminates the everyday with splendid precision. Readers who appreciate psychological nuance and fictional filigree will delight in Emily, Alone.”
  —Stephen Amidon, The Globe and Mail (Toronto)

“Emily stretches for a kind of rediscovery. Throughout she is lovable…