and unhelpfully neglected topic. Itâs the extremes that repeatedly grab the spotlightâthe entirely blissful partnerships or the murderous catastrophesâand so it is hard to know what we should make of, and how lonely we should feel about, such things as immature rages, late-night threats of divorce, sullen silences, slammed doors, and everyday acts of thoughtlessness and cruelty.
Ideally, art would give us the answers that other people donât. This might even be one of the main points of literature: to tell us what society at large is too prudish to explore. The important books should be those that leave us wondering, with relief and gratitude, how the author could possibly have known so much about our lives.
But too often a realistic sense of what an endurable relationship is ends up weakened by silence, societal or artistic. We hence imagine that things are far worse for us than they are for other couples. Not only are we are unhappy, we misunderstand how freakish and rare our particular form of unhappiness might be. We end up believing that our struggles are indications of having made some unusual and fundamental error, rather than evidence that our marriages are essentially going entirely according to plan.
They are spared continuous bitterness by two reliable curatives. The first is poor memory. It is hard, by fouroâclock on a Thursday afternoon, to remember quite what the fury in the taxi the previous evening was really about. Rabih knows it had something to do with Kirstenâs slightly contemptuous tone, combined with the flippant, ungrateful way she responded to his remark about having to leave work early for no good reason. But the precise contours of the offense have now lost their focus, thanks to the sunlight that came through the curtains at six in the morning, the chatter on the radio about ski resorts, a full in-box, the jokes over lunch, the preparations for the conference, and the two-hour meeting about the Web siteâs design, which together have gone almost as far towards patching things up between them as a mature, direct discussion would have done.
The second remedy is more abstract: it can be difficult to remain furious for very long, given quite how large the universe happens to be. A few hours after the Ikea incident, around mid-afternoon, Rabih and Kirsten set off on a long-planned walk in the Lammermuir Hills to the southeast of Edinburgh. They start out silent and cross, but nature gradually releases them from the grip of their mutual indignation, not through its sympathy but through its sublime indifference. Stretching interminably far into the distance, created through the compression of sedimentary rocks in the Ordovician and Silurian periods (some four hundred fifty million years before Ikea was founded), the hills strongly suggest that the struggle which has lately loomed so large in their minds does not in fact occupy such a significant place in the cosmic order and is as nothing when set against the aeons of time to which the landscape attests. Clouds drift across the horizon without pausing to take stock of their injured sense of pride. Nothing and no one seem to care: not the family of common sandpipers circling up ahead nor the curlew, the snipe, the golden plover or the meadow pipit.Not the honeysuckle, the foxgloves, or the harebells nor the three sheep near Fellcleugh Wood who are grazing on a rare patch of clover with grave intent. Having felt belittled by each other for most of the day, Rabih and Kirsten are now relieved from feeling small by an apprehension of the vastness within which their lives unfold. They become readier to laugh off their own insignificance as it is pointed out to them by forces indomitably more powerful and impressive than they are.
So helpful are the limitless horizon and ancient hills that, by the time they reach a café in the village of Duns, they have even forgotten what they are meant to be furious with each other about.
David LaRochelle
Walter Wangerin Jr.
James Axler
Yann Martel
Ian Irvine
Cory Putman Oakes
Ted Krever
Marcus Johnson
T.A. Foster
Lee Goldberg