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Bound: A Novel
Bound: A Novel
Bound: A Novel
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Bound: A Novel

Rating: 3 out of 5 stars

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Antonya Nelson is known for her razor-sharp depictions of
contemporary family life in all of its sometimes sad, sometimes
hilarious complexity. Her latest novel has roots in her own youth in
Wichita, in the neighborhood stalked by the serial killer known as BTK
(Bind, Torture, and Kill). A story of wayward love and lost memory, of
public and private lives twisting out of control, Bound is Nelson's most accomplished and emotionally riveting work.

Catherine
and Oliver, young wife and older entrepreneurial husband, are
negotiating their difference in age and a plethora of well-concealed
secrets. Oliver, now in his sixties, is a serial adulterer and has just
fallen giddily in love yet again. Catherine, seemingly placid and
content, has ghosts of a past she scarcely remembers. When Catherine's
long-forgotten high school friend dies and leaves Catherine the guardian
of her teenage daughter, that past comes rushing back. As Oliver
manages his new love, and Catherine her new charge and darker past,
local news reports turn up the volume on a serial killer who has
reappeared after years of quiet.

In a time of hauntings and new
revelations, Nelson's characters grapple with their public and private
obligations, continually choosing between the suppression or indulgence
of wild desires. Which way they turn, and what balance they find, may
only be determined by those who love them most.

LanguageEnglish
Release dateOct 5, 2010
ISBN9781608193004
Author

Antonya Nelson

Antonya Nelson is the author of three short story collections, The Expendables , which received the Flannery O'Connor Award for short fiction, In the Land of Men , and Family Terrorists . She has won numerous awards and grants, including the PEN/Nelson Algren Award, three PEN Syndicated Fiction Awards, and the Mademoiselle Short Fiction Prize. Her stories have appeared in The New Yorker, Esquire, Mademoiselle, and Redbook as well as various literary magazines. She lives in New Mexico and Colorado with her husband, the writer Robert Boswell, and their two children.

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Reviews for Bound

Rating: 2.8378378378378377 out of 5 stars
3/5

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  • Rating: 4 out of 5 stars
    4/5
    I was so excited when I won this book from goodreads. Bound is a character-driven drama that keeps you reading even though it doesn't have much of a story line. Antonya Nelson is a very talented author that describes everything in such detail that you find yourself visualizing it. Nelson's characters were so vivid and unique. The beginning of the book was particularly well written and intense. This book followed the characters in their journeys through life, but the problem is none of the characters really learned or grew from their journeys. I particularly liked the ending where it said you weren't stuck with just one name, that there were choices that could change everything. This book was a tad short and left me with some questions as to what happened to the characters, the most prominent question in my mind: Does Catherine ever find out about Oliver's affair and hook up with someone her own age? All in all, this was a good book and I'm glad that I got the opportunity to read it.
  • Rating: 4 out of 5 stars
    4/5
    Antonya Nelson is best known for her short stories, but in this novel she uses the extra space to wonderful effect. This is a thoughtful, elliptical novel and the gentle pace may not grab all readers, which is a pity because this is a beautifully written, deeply insightful novel about the lives of three women in Kansas. Catherine is in her 40s, and married to much-Oliver, a vain and self-indulgent man on his third marriage, although one senses it may not be his last. Misty is Catherine's childhood friend, whose life diverged from Catherine's into more turbulent, and messier, waters. The book opens when Misty, with a dog in the back of the car, drives off a road to her death. Her daughter, Cattie is a teenager is 'willed' to Catherine and when she learns of her mother's death, skips out on her Eastern boarding school with $500 in her pocket, a rather dodgy travelling companion and a stray dog. If you are looking for a page-turning plot, perhaps this isn't your book, because things happen slowly here, and apart from the intial car crash, without much violence, even though the BTK Killer hovers like a malevolent spirit in the background. Nelson's territory is interior and this is the landscape on which she works her considerable magic. Her focus shifts, at one moment bringing Catherine and Oliver's marriage into the spotlight, at another turning it onto Oliver's infidelities, or Cattie's journey . . . All flows together seamlessly, creating a vivid and intriguing portrait of these people's lives. On cannot help but think of Chekhov.The story begins and ends with the dog from the back of Misty's car, and it is testment to the grace of Nelson's writing that this feels right and good and not a bit maudlin. Settle in. Get a good cup of tea. Relax. Take your time and enjoy this terrific book.
  • Rating: 3 out of 5 stars
    3/5
    This book just was. It wasn't good it wasn't bad. It filled a few days time. The plot was ok. I did like the story form a narrative from 3 different characters point of view. I disliked the lack of character development and some parts of the plot seemed forced to make a happy ending. Not the natural progression of events.
  • Rating: 3 out of 5 stars
    3/5
    An enjoyable enough book. I liked the content, and would be quite willing to recommend this to others!! Ms Nelson has a quick wit, and keeps a reader willing to continue. This is an entirely readable book, and I would, and will!, let others know that they need to discover this virtually unknown author! I think Ms Nelson will go far in her career in writing and can't wait for the day that she is a household name! Best of luck and I know that good things-Library Things, will be coming for you!
  • Rating: 3 out of 5 stars
    3/5
    Though I enjoyed some of the perspectives, like that of the dog at the beginning, I never really felt connected to the characters.
  • Rating: 2 out of 5 stars
    2/5
    A quick read with no real substance to the book. I felt like the story of the killer was forced and didn't really have much to do with the rest of the book.
  • Rating: 3 out of 5 stars
    3/5
    This was just ok for me. It sounded more interesting than it really was, having the BTK Killer always lurking in the background I found that nothing really happened in the end, no big climax. People had problems, stuff happened and it all worked out ok in the end. I like my fiction to be a lot darker than this, I kept expecting something to happen. All of the characters had secrets the reader was aware of but they never became a part of the plot, making me wonder what the point was. I didn't connect with any of the characters and I do not like this type of pointless, almost forced, happy ending.
  • Rating: 2 out of 5 stars
    2/5
    LuxuryReading.com Review - Nelson’s description of setting and place is truly mesmerizing, but the characters are only sort of likable. There are many characters that come and go throughout the novel. There are some that only appear a time or two and appear to have importance, but are later forgotten, one character simply walks out of the novel, while another one dies to tie up the loose end.The novel is riddled with many parallel plot lines. Some intersect and others only seem as though they may touch, but never actually do. This creates an element of suspense and in the end a bit of frustration. The anticipation of the story lines possibly intersecting will keep you reading. The novel is a quick read with only moments of depth. There are moments of brilliance hidden in this novel along with some unforgettable, vivid descriptions. For that alone, it could be worth the read, just don’t go in for the plot.
  • Rating: 3 out of 5 stars
    3/5
    Nelson's title sums up the scope and themes of her novel, which explores the various ties that bind: mothers and daughters, friends, husbands and wives, pets and owners, lovers, fathers and daughters, even complete strangers. For good measure--well, maybe more for bad measure, in my opinion--she throws the BTK (Bind, Torture, Kill) serial killer into the mix. I'm not quite sure what he's doing there. Linking the past and the present, through two girls' obsession with the 1970s murders and through various characters' obsessions with his re-emergence and capture? Demonstrating that people are not always what they seem to be on the surface? Telling us that secrets will always come out? Oliver, the novel's aging, thrice-married philanderer, compares his own desire for gratification to BTK's, so perhaps Nelson intends us to see his history with women as a parallel: he binds women to him, their relationships become torturous, and he eventually 'kills' (leaves) them. I just don't know . . . On the plus side, I thought the novels characters were, for the most part, realistic and well drawn. Several other reviewers have complained that there wasn't enough plot for their taste, but I am a reader who likes to explore characters' psychological depths. Nelson provides plenty of this in the cases of Catherine, Oliver, and Cattie, her main characters, making us privy not only to their inner thoughts but exposing the histories that made them who they are. While they are not always likeable, each has moments of redemption--even the self-absorbed Oliver. Nelson has also given us some intriguing secondary characters: Dr. Harding, Catherine's professor-mother, left speechless by a stroke; Randall, a creepy young veteran; Dr. Harding's friend, Dr. Yasmine Keene, and her ominous black stick; Miriam, Oliver's wounded, promiscuous daughter. I would have liked to have learned more about them.Dogs also play a significant role in the story, the characters' relationships to them giving us additional insight. They also remind us that perhaps we are not as "bound" as we think. Max, Misty and Cattie's mongrel, survives the car crash that takes Misty's life; her fate concludes the novel. Bitch and her eight puppies initially draw together Cattie and the hermit-like Randall. The childless Catherine goes through a series of progressively smaller dog pairs, all disliked by Oliver but the last eventually winning him over.I have to agree with those who feel that the novel would have benefited from one last revision. There are a lot of loose ends, a number of things that need further development, and a number of others that need to be reconsidered, maybe even scratched. But overall, the writing is fine and the characters interesting, and the novel kept my attentiont throughout.
  • Rating: 4 out of 5 stars
    4/5
    The novel never gelled for me. The subplot of a serial killer did not seem threatening and credible.
  • Rating: 3 out of 5 stars
    3/5
    Bound is a difficult book for me to review, simply because I care so very little about it. The characters were fine. The plot was OK. The writing was inoffensive but not particularly skilled. There was an entire subplot about a serial killer that seemed to be completely pointless, mostly because the tension wasn't built appropriately, and the resolution of said subplot was underwhelming.I was left with the feeling that this book needed to be both much longer, and much shorter. Nothing was really developed very well, yet it seemed like the author went on and on about every detail. Overall, though I appreciate receiving it from the Goodreads First Reads program, the book was highly unsatisfying and I wouldn't recommend it.
  • Rating: 3 out of 5 stars
    3/5
    I got this book from Library Thing's Early Reviewers program. I have no real quibbles with the book, except that it's largely forgettable. I read it in two days - the story certainly carries you along and the characters are well-drawn (which I understand is Antonya Nelson's forte). But it left me with more questions that I started with. And, well, I wanted something to HAPPEN. But, as a character study, it is a nicely done book, and well written. Just don't ask me what it was about a month from now...
  • Rating: 2 out of 5 stars
    2/5
    All in all, a rather average book. I never really became interested in the characters and their lives. Generally, a book in which not much happens and one that is easily forgettable.
  • Rating: 3 out of 5 stars
    3/5
    Antonya Nelson's Bound is a book that holds lots of promise, but just doesn't seem to really get it togther to quite "bind" the story line.There is a meandering, stilted quality to this story. The characters are often people I just don't "get". There's Misty, who arrives to the story dead on the scene, with her dog sniffing her corpse, which is trapped in her car, after her car has inadvertently gone over a mountainside and into a ravine. Misty, an ultra reformed recovering addict and alcoholic, has just sent her prized daughter away from their Huston home, to a boarding school in Texas. She has apparently found the economic stability and suburban family life she completed lacked as a child. There is no father mentioned for her daughter, Cattie, and no real reason supplied as to why Misty sends her away, or why she has gone traveling to Colorado at this time. She does have memories of a vacation trip she took with her much more socially mobile best friend Catherine, but, no reason for this spur of the moment revisitation of a childhood memory is given.Meanwhile, we are introduced to Catherine, the third wife of a wealthy small town businessman. Catherine is attractive and completely vanilla. Her husband Oliver is a vigorous, fastidious gernaphobe of a man who is approaching seventy, and appears to collect lovers and wives of a younger vintage in an effort to stave off his own mortality. Catherine has no children of her own, and appears to spend her time caring for her ailing, ultra-feminist retired professor mother, who is in a local nursing home, breezing into her husband's businesses and caring for their two dogs. She and Oliver have separate bedrooms, and neither her husband or her mother seem to have much use for her any more - her husband boring of her, and her mother appalled by her apparent reliance on her attractiveness to "get by", rather than become a person of substance.When Cattie learns of her mother's death, she runs away from the boarding school, and eventually hooks up with an odd PTSD'd veteran, with whom she attempts to make it from New England back to Texas, with lots of sideshow oddness.Catherine, who explored her rebel oats in middle and high school with Misty, her BFF from the other side of the tracks, goes to visit her mother at the nursing home, and happens upon a letter sent to her weeks before, indicating she has been appointed guardian of Misty's daughter Cattie (which is, natch, short for Catherine). Her husband can't be bothered with this distraction, and he has his own maladapted spawn to contend with. Catherine seems in no particular hurry to discover much about this child, and seems to stumble and bumble her way to Misty's old place in Huston. She had lost touch with her old drugging/sexing/boozing pal Misty, and had no idea she had a child, much less that she would leave the child to Catherine.In the background of this story line, Nelson introduces the thread of a serial killer dormant for some year, who is now active again. This story line seemed promising, but like much of the rest of the book seems to go nowhere fast. the BTK killer turns out to be such a disappointing little thread, and I had a hard time seeing how it related to the rest of the story.The characters seem wooden and stilted. Their motivations are completely baffling and their reactions to jarring events seem muffled and distorted.Nelson's writing, her choice of words and descriptions are excellent, but I had more hopes for the plot line than what actually developed. It was an easy read, which flowed, and there were tensions, they just didn't seem to have a satisfying resolution.
  • Rating: 4 out of 5 stars
    4/5
    This book really grabbed my attention from the opening sentence, from the point of view of a dog. Written from different characters' perspectives in each chapter, it was well done and completely held my interest. However, I found the references to the BTK serial killer unnecessary and pointless. Overall I really enjoyed Antonya Nelson's style and story.
  • Rating: 2 out of 5 stars
    2/5
    Catherine Desplaines of Wichita, Kansas, becomes the guardian of Cattie, the daughter of Misty Mueller, Catherine's best friend from high school. This guardianship comes as a shock since the two had been out of touch for years, but the bond that develops between Catherine and her namesake ward allows both to connect with Misty in a way they had not been able to do before. Catherine was refined and privileged whereas Misty came from the wrong side of the tracks. Drawn to Misty's free spirit, the two teenagers explored alcohol, drugs and sex before drifting apart. Catherine eventually chose the "container of civilization"(3) by marrying Oliver, a much older entrepreneur, and settled into an uneventful marriage, a Valium marriage in which the two are "committed to a mutual dulled slumber" (68). Misty chose the "window into the wild" (3) but somehow managed to become a very successful real estate agent.Catherine and Cattie's points of view are given but so is that of Oliver, Catherine's husband. Manipulative and vain and with a fear of aging, he is a serial adulterer who is currently having an affair with the much younger Sweetheart. Oliver is the most obvious example of a character who has secrets and leads a double life; he even compares himself to BTK, the Wichita serial killer who had a "desire to have it both ways, to be the upstanding citizen as well as the fiend" (222). Catherine has a "more colorful past than her husband knows." How Misty moved from poverty to affluence remains a secret. Dr. Grace Harding, Catherine's mother, suffered a stroke and cannot speak so her secrets also remain.As the title clearly indicates, the theme of the novel is the ties that bind. Characters are bound to their pasts, their families and their friends. Sometimes these bonds are difficult and painful, as is Catherine's bond with her mother. Sometimes they carry obligations: Catherine feels responsible for Cattie though she knows that Misty's guardianship request "was not legally binding" (100). What I liked about the novel is the concise observations about people and life. I did occasionally find myself highlighting phrases and descriptions that caught my attention: "The [retirement] home wasn't classy enough to require kindness from its employees" (35).What I did not admire about the book is its strict adherence to writing course lessons. Would-be writers are taught to unify; Nelson's use of the Mueller's dog at the beginning and the end is such an obvious attempt to do exactly this. Writing instructors talk about how to develop theme through a title, repetition (symbols, ideas), and the conclusion. Nelson followed all these lessons in a very ham-fisted way. For example, referring to the BTK killer, who first bound his victims, is a clumsy method of theme development. Catherine, the character in the novel, and Antonya Nelson, the author, have something in common. Catherine, psychologically and emotionally, seems to be more a teenager than an adult: "in possession of all the markers of adulthood . . . entitled to claim the role, but still . . . nagged by teenage unease" (61). The author is entitled to claim the role of writer, but her novel has the techniques of a beginning writer.
  • Rating: 3 out of 5 stars
    3/5
    It is hard for me to write a clear review for this book. I guess to begin with, this book is not my cup of tea. It has all the elements of being a book that I would enjoy - there is a serial killer in the background, there are troubled/strained relationships of all different kinds (family, marriages, friendships, etc.)...this should be a book that I really like. But it just didn't really do it for me. While I think it is a good book - the writing is quite good, the characters are interesting - there doesn't really seem to be anything happening here. Not that this is supposed to be a thriller or anything, but there is minimal action. There is maximum description. I mean...a huge amount of description. Too much. Rather than providing actual events in the story, the writer chose to include descriptions of everything and everyone, no matter how unimportant to the general plot. That being said, I liked how she would switch from describing the present to describing the past and back again - that was an interesting tactic. There isn't too much to say other than that. If you enjoy books that really delve into relationships and "the ties that bind us," then this will probably be a good book for you.
  • Rating: 3 out of 5 stars
    3/5
    A quick and easy read, but not enough plot. Character development is rich and the multiple viewpoints from multiple characters is interesting, but not much happens. The serial killer mentioned in the book's description promises excitement, but this part of the story is barely more than an afterthought; no suspense there. Wouldn't recommend.
  • Rating: 3 out of 5 stars
    3/5
    This was a really sweet book about some complicated people. A woman married to a much older adulterous man finds that she has become the guardian of "Catty," a 15 year old girl who is the daughter of her childhood best friend, who has passed away. She hasn't heard from this friend since they were both teenagers. Finding out about the existence of Catty opens up so many memories for Catherine of time spent with her mother when they were young, both about the fun they had and the mistakes they made. In the book, Catherine doesn't have any conflict with these memories, she merely enjoys them, and can look back at them from her place of contentment in the present. Catty is of course having her own emotional issues, after finding out that her mother has died in a car crash, she abandons her boarding school and goes to stay at the house of a school acquaintance. Catherine must spend time tracking her down. Much time is also spent on the perspective of Catherine's husband, who is currently cheating on her with a woman even younger than she is. During the book he also spends a lot of time visiting Catherine's mother, who never liked him, but has suffered a stroke which renders her mute. From the view of Catherine's husband, they are able to build a very fulfilling relationship now that she cannot speak. Catherine's mother's opinion is never consulted in this.Overall, the characters were beautiful and complex. It was pretty obvious that this author is a short story writer, however, because there just isn't much time wasted. She also tends to jump from one perspective to another fairly quickly. At the end of the book, though, I just wasn't sure what the point was. I felt like I must have been missing the second half of the book, and I was disappointed that I wasn't getting closure with the characters that the author leads you to care so much about.
  • Rating: 3 out of 5 stars
    3/5
    Catherine who considers herself a 'throphy wife' finds out she has been left guardian to 15 year old "Catty". The daughter of her best friend from high school that she lost touch with over the years. -- There was alot of potential to this story, but I felt disappointed at the end. It left you hanging and wanting more.
  • Rating: 3 out of 5 stars
    3/5
    The first 2/3s of this book held a great deal of promise, with good character development and the author's usual gift of establishing a strong sense of place and time. The disparate plot lines that I erroneously assumed would eventually be 'bound' together, all seemed to fizzle out in a deeply unsatisfying way. What became of Randall? What function did repeatedly referencing a serial killer serve? The initial meeting of the Catherines, so long in the making, wasn't even mentioned; turn a page and they were abruptly together and comfortable with eachother.I've admired this author's past works, but I'm afraid in the end, this one disappoints.
  • Rating: 2 out of 5 stars
    2/5
    This isn't a long book but it felt like it was...although the writing is excellent, and the characters are richly drawn and described, this feels like a book about nothing. I kept waiting for the book to start, and then it was over. Add to that a mix of characters who are all sort of aimless, and ethereal, and vague in thought and action....you get the picture. On the good news side, Nelson is obviously a talented writer, and throughout the book there were phrases and descriptions that I wanted to highlight and remember.
  • Rating: 2 out of 5 stars
    2/5
    This was the first time I read a book for Antonya Nelson, and I did it as part of the Early Reviewers program. I can see how her writing is definitely interesting, but overall I had a difficult time getting through the book (especially considering once I actually sat down to get into it, I realized it's really rather short). The book starts off slow with several different characters that seem disjointed. I found it challenging to keep track of who was who and figuring out how they were all connected. The story seems intriguing enough, with Catherine being named as the guardian for a teenage daughter of a long-forgotten high school friend who died unexpectedly. In the background lies the story of a serial killer who has made a reappearance after years of being dormant. However, it doesn't ever feel like this side story fully connects with the main plot points.The story takes place mainly in Wichita, Kansas, and I did enjoy the way Catherine showed young Cattie the city through her eyes - the way her past is entangled in the physical structure of the city, and how each place can hold disparate memories for her. It was a nice way to show how a person lives through and grows with a city. I also enjoyed the attachment to dogs, and how they were shown as such an integral part of the characters' lives.Overall, I would not recommend the book to a friend, and I will probably largely forget the story within a few weeks.
  • Rating: 2 out of 5 stars
    2/5
    After starting quite a few times, I finally managed to plough through and finish. This is definitely not my kind of book. It's one that sounds good in theory but it just didn't come together for me. I found the writing to be way too over-the-top and flowery which I thought was a strange combination considering the topic. I wanted to enjoy it but it just fell flat.
  • Rating: 3 out of 5 stars
    3/5
    A book where the parts are greater than the whole. Interesting characters, but they don't change, or grow. Oliver is the aging serial husband, trading in for a newer, younger model every twenty years. Catherine, wife number 3, and named guardian to her high school friend's orphaned daughter is struggling with her role as grownup with strong husband and mother dominating her life. Cattie, the namesake orphan runs away from her private school. Randall was the army guy, possible PTSD, who drives the car and saves the dogs. Plus, there is a serial killer on the news from Catherine's hometown. Individual sections were easy to read, but they just didn't connect for me into a whole cohesive story.Part of the problem is I couldn't see how the characters all connected, and some of them disappeared completely randomly. How the serial killer connected the disparate stories is also not clear to me. People are bound to their background, to their towns, to their traditions, and the killer bound his victims. Maybe that's the connection.
  • Rating: 4 out of 5 stars
    4/5
    I love Antonya Nelson's writing, and this book doesn't disappoint. This is a novel about character more than about plot. Nelson protrays nuanced relationships in a masterful and realistic way. And she does it without using many words.
  • Rating: 3 out of 5 stars
    3/5
    Bound is a story that takes its name from the BTK Killer, and much of the story’s action takes place in Wichita, Kansas, the killer’s hunting ground in the late 1970s. Fast forward 30 years, and he is assumed dead. To prove that he’s still there, he starts releasing information to the media, proof that he went dormant but did not disappear. The citizens of Wichita are not alone in their fascination with the tale, watching the events closely until the killer’s identity is revealed, and he is arrested. It’s an interesting story. However, it doesn’t do a lot to move along the plot of the story, so it’s not entirely clear why it’s such a recurrent theme in the story. In fact, Nelson’s attempts to keep his narrative going throughout her own seem forced. Her story is about being “bound” by the ties of friendship, by shared experiences, and by obligation. It has very little to do with a serial killer.The story focuses on the ties that bind Catherine to Cattie, her namesake and the daughter of her best childhood friend. When Cattie's mother dies in a car accident while she is away at boarding school, Cattie thinks that she is all alone in the world. She "disappears" to avoid ending up in foster care. Meanwhile, Catherine learns that she has been named the girl's guardian and must decide how she is going to proceed. Their paths finally cross when Cattie decides to return to Houston and is found by the police a on the road not far from Wichita. Catherine, in Houston to handle Misty's estate, has her husband pick Cattie up and bring her home. The two Catherine's quickly bond. The emptiness that Cattie knew she was feeling is somewhat alleviated, and the hole that Catherine does not even know she has her in her life is filled by teenager's presence. Through their bond, they are both able to reconnect with Misty in a way that neither would have ever been able to do had she lived.The most interesting, and most poignant, bond that forged in this story, however, has very little to do with Catherine or Cattie. When Catherine makes her trip to Houston, her husban, Oliver, agrees to visit her mother in the nursing home where she has lived since having a stroke. The two have never gotten along; Oliver is just a few years younger than Dr. Grace Harding, and she has always felt that he married her daughter so that he could have a "trophy". On this particular visit, however, they are able to bond over a virtual trip to Rome. The two adversaries are able to realize they have more in common than they would have expected.The story is very well-written; Nelson's command of the language is unquestioned. She is more known for her short fiction, and her skill in that area is made apparent throughout the novel. Each chapter is told almost as a story in and of itself. This approach can work very effectively when the stories are only thematically related and not meant to be telling an on-going story about a set group of characters (see Ray Bradbury's The Martian Chronicles). It is not as effective here; the different threads are meant to be woven together, but she leaves too many dangling. The beauty of the individual stories is diminished by the attempt to make them all work together.Overall, it is a very pleasant read. In this case, however, the parts outshine the whole.
  • Rating: 2 out of 5 stars
    2/5
    Antonya Nelson was recently named by the Huffington Post as one of most overrated writers of contemporary literature. As the article states: "[S]he's a dull craftswoman who has never questioned realism, and has no clue about history or politics." Her first novel in ten years (after Living To Tell), proves this point.Bound is the story of Catherine Desplaines, third wife of entrepreneur Oliver Desplaines, and her estranged friend Misty Mueller, but it doesn't start with Catherine. It starts with the death of Misty, surprisingly from the point of view of her dog, Max, who witnesses her car accident, and later runs away from the car wreck to be found and adopted by Elise, a woman with relationship troubles--but this is much later (in fact the last page) and not important. What is important is the events that follows afer Misty's death: a letter Catherine finds at a nursery home for nearly insane elderly folks (where her stroke-victim mother lives) and the girl left in her charge, also named Catherine, but called Cattie.We meet Cattie in a boarding school. She's a grunge teen, who likes being alone, and Nelson beautifully characterizes and develops her. For example:"Young, she'd had a neighborhood friend, a boy whose sidekick qualities had been second nature to her. There he'd been, for as long as she could recall, and friends they'd inevitably become. Since then, it semed that friendship required foresight and effort and connivance. To Cattie, it seemed not only like work, but vaguely false. People accused her of being selfish; maybe not needing others was what they meant."Also:"Along with taking long walks, Cattie read a lot of books. They'd taught her a fair amount about mistakes. She thought of herself, often, as a characer in a book, in the third person, wandering a world that could be described as if from above, and beyond. Narrated. Seeing herself in a scene, rather than feeling caught up in that same scene, was a sensation she had lived with for a long time."Indeed, in a recent interview with The Writer Nelson praised the third person point of view, which is also what she does in this novel. The third person, she says, allows readers to see things that the characters don't: "The latitude that the third-person narrator supplies for the writer is a remarkable one; it's so limiting to have to be constrained by the character's literal vocabulary...rather than to have the amazing versatility of the third-person character's multiple sensual understandings of the world," she says. In the case of this novel, it allows the readers to see the ways the characters are connected (bound) to one another, despite trying to forget the past (as Catherine does) or runaway from the present (like Cattie does after her mother dies). Nelson seems to point out that we cannot escape each other, we influence one another's daily lives, something we as individualists do not necessarily see. Thus the third person ominicisent narrator.But Nelson does not mention the possible weak points of the third person POV, and does nothing to remedy the problem in Bound.The problem--or maybe just a side effect--with the third person is the distance created between reader and character. David Jauss argues in his book Alone With All That Could Happen: Rethinking Conventional Wisdom About the Craft of Fiction that the third person point of view should be used when you want to create that distance. The problem with Nelson's work is that she's been so used to using it, that she doesn't even question it, doesn't see the problem with her own work.Bound is about the ties that binds us to our histories and specifically, to other people. Yet, Nelson jumps into the heads of so many people and things (we start with the dog, then we go to Catherine, then we're in her mother's head, then Oliver's head, then Cattie's, then her gay best friend, then the mysterious solider Randall who saw his friend die, but not in war, but of alcohol poisoning)--that it all becomes too exhausting to pay attention, to make connection with any character. The distance too far for readers to put effort into the story.In fact, reading Bound feels like reading something that is not a novel, or a work of literature. Literature is made to connect, written to feel empathy with other situations and peoples. Yet time and again, Nelson kicks the reader out, as if not wanting to let her audience into the story. Along with the character jumps, she unrealistically polarizes her characters (all women are moody and emotional, all men are emotionalless cheating beasts, despite an emotional past, all gay men are devices to further the plot). Furthermore, she creates motifs and characters and story lines that are supposed to touch upon one another and show the way we are "bound" to each other, yet most of these fall into flat sentimentality (for example, Catherine driving around town remembering her past) or are just weak: the best example of this is Nelson's use of the BTK killer, which we can only guess she used because the "B" in BTK stands for "bind." Her theme.As Adam Kirsch writes on Nelson:"Nelson never chafes against the limitations of her chosen form, the realistic, well-made story. It's the ideal medium for a writer who isn't afraid to remind us of the familiar, who values insight over epiphany. Nor is Nelson particularly interested in the way the world at large shapes our private lives."Translation: overall, Nelson writes an unrealistic realism (I use the term "realism" here as a genre) based on a dreamt up dyfunctional middle class. She does everything that is taught in writing programs across the nation--show back stories, be particular about each person's traits (be quirky!), end by linking the beginning to the end. She is a teacher herself, which is perhaps what makes her work cheap and boring.
  • Rating: 3 out of 5 stars
    3/5
    The story starts off well: a blend of mystery, curious circumstances and precise descriptions, there is an atmosphere of confusion which piqued my interest and enticed me to learn more. From there, the story develops in a series of flat portraits, disconnected reminiscences and flashes into the past in which the characters are connected with biographical precision but no meaningful emotion.I disliked all the characters: Catherine is vapid and stupid, Oliver manipulative and vain and Cattie bland. Misty had some potential; shroud with an air of mystery, having overcome the odds of poverty, she stands out as having a tough multifaceted personality, but this is not explored and ultimately the reader learns nothing about her motivations and growth.Finally, I found that this book had no aim: the characters don't really evolve or grow; they don't learn any lessons; there is no epiphany; the serial killings in the background were, as far as I can tell, a way of rallying the community, a discussion around fate, but those interpretations are tenuous at best... the ending is a vague attempt at reconciling two characters from the beginning that had nothing to do with the main story... dull, pointless stuff.The title is the element that ended up intriguing me most: Bound to what? The past, one's history, family, one's geographical location, community? Bound homeward or to some other destination? I can only guess.Well-written but bland and disappointing.
  • Rating: 1 out of 5 stars
    1/5
    The most appealing feature of this book is it's length. It's short. Blissfully so. Flat, dull, meandering.

Book preview

Bound - Antonya Nelson

BOUND

a novel

ANTONYA NELSON

New York • Berlin • London

To Laura Kasischke, in friendship

FALL

CHAPTER 1

THE DOG HAD two impulses. One was to stay with the car, container of civilization, and the other was to climb through the ruined window into the wild. Wait with the woman, or dash toward the distant rushing water?

The woman hung suspended, patiently bleeding, barefoot, allover powdered by deployed airbag dust, one palm open like a forget-me-not in her lap, the other hand raised unnaturally high, as if thrown up to respond to a question, fingertips caught in the teeth of the ripped-open moon roof. A signal chimed, tiredly announcing that a door was not latched, or a passenger was not buckled, or a light had been left on, or that some other minor human infraction had been committed. The machine was made to attend to these. Additionally, the tape player played on, a man reading aloud. In other instances, recorded sound sometimes roused the dog’s interest—animals on television or computer, the doorbell at home in Houston—but not this man’s voice.

This was the car’s third accident today. For nearly thirty years, its driver had not had an accident, not since high school. Then in one day: three. First a bashed bumper at the liquor store parking lot in El Paso, she and another woman backing out directly into one another. From above, it might have looked choreographed, perfect comic symmetry, a gentle jolt, the sudden appearance of a car bumper right where there hadn’t been one in the rearview mirror. Or like film footage, run in reverse, people parking, unparking. This first accident, which had produced no problems, bumpers doing their jobs, had been in Texas, the next one in New Mexico, and the third in Colorado. The second accident, in New Mexico, was clearly the fault of the dog’s owner. Headed north through a tiny town made of trailers, she’d run its only shot-blasted stop sign and been clipped by a westbound pickup. Its driver jumped furious from his cab, shouting and pugnacious before she’d even shifted into park. Her right taillight had been sheared off by his too-big tow bar. The dog would not stop barking at the angry man. For ten minutes the two drivers had had to circle and study their vehicles, the man venting his significant frustration, which took the form of rhetorical questions concerning the whereabouts of her mind, not to mention her driving barefooted.

"What are you, drunk?"

Hungover, the woman thought, but not drunk. She shook. Her response, often, was to retreat to silence. This had made her a formidable adult, although she’d been mistaken as sullen or dull-witted when she was young. The man finally convinced himself that he wasn’t at fault, nor was his truck damaged. And he couldn’t much care about an unpretty woman. The drivers left the scene of the accident without reporting it. The other cars that passed—both local and tourist gawkers—slowed but did not bother to stop, interested to know if the verbal antics would escalate into something truly entertaining, since clearly there’d been no carnage.

They wanted mayhem.

The dog had not ceased barking until her owner settled behind the wheel, slammed the door, blinked into the setting sun from behind sunglasses she had not removed, and turned over the engine. Then they were restored to their humming, air-conditioned peace. For miles, the woman talked to the dog as if to prove that she could, her hands trembling when she finally put in the first cassette of her borrowed book on tape. Heart of Darkness, its narrator intoned, and thus began the story.

Now the dog was busy navigating a nervous figure eight between back seat and front, stepping gently past the gearshift, tightly circling the passenger seat, her tail inadvertently sweeping beneath the driver’s upraised arm, near her hinged, leaking mouth, then squeezing once more over the gearshift, onto the back seat and into her metal kennel, which was intact, although upside down. There she made the motion of settling, albeit on the ceiling rather than the floor of her cage, hopeful that obedience would reinstate known order.

Obeying was her first instinct; she’d been performing these moves, tracing this circumscribed looping path, every minute or so, since the car had gone off the highway and down the cliff. She stepped from the kennel and shook in her abbreviated space, sat suddenly and awkwardly on her tail, like a bear or raccoon, and curled forward to lick at her belly, tempted once more by the sense of the flowing stream beyond the car, yet dutiful to the woman inside. Far above, on the highway from which the car had fallen, a truck downshifted, straining against its own massive weight and force, roaring gradually by. The dog had been whinnying every now and then, an uneasy chatter in her throat, but now squared her front feet on the car console and barked close to the woman’s head, teeth snapping unnaturally near the pink cheek flesh, tail waving with hope, anxiety. She had eyebrows, this dog, which gave her the appearance of intelligence, as if she could read minds or understand complicated speech. The woman was in the habit of talking to her. Certain words—Walk! Treat! Home!—as well as certain tones of voice inspired a reply. The dog barked again, as if to begin their usual exchange, taking the lead, and then again, insistently, demanding a response, even one of anger, then put her nose to the woman’s temple, tasted the blood there, whimpered, her tail now swinging low, pendulum of shame. The man’s voice, steadily reading. The other sound, the one she could more truly heed, that of the stream.

She stepped gingerly over the woman, dropped to the damp cool ground outside, stood for a moment with her nose to the air. Without its familiarities, the car evaporated from her attention, sucked into the overwhelming enormity of the rest of the world. She dashed headlong toward the water. Plunging in, she was startled by the current; she flailed and her eyes rolled, panicked and wild. She raised her neck, scrambled, and only occasionally, and only momentarily, found purchase on the rocks beneath. Down the stream she flew, borne on an icy journey, through a slight and shadowy canyon, her body thrown sideways around one bend, backward around another, her chest scraped lengthily over a jutting cluster of boulders in the last rapids, again and again her muzzle submerged and blasted, and then, finally, she was deposited into a still pool, a wide clearing where the water abruptly sprawled, stalled, where its temperature gradually rose, milder. On the banks, grazing deer.

The dog climbed out through tall saturated yellow grass, through dying pussy willows and stagnant silt, and onto a large flat red stone that still held the late-afternoon warmth from the sun. Here she lay panting, quivering. Her feet were tender and there was a new rip on her belly from the rocks. Wet, she showed her wolflike physique, the slender sneaky profile of her face, the alert damp fan of her tail. Her coloring was dark, her thick fur stippled, and her tongue mottled, like a chow’s, but her slender skeletal underpinnings were those of a wild creature, fox or coyote, something nocturnal and sly. Her owner had liked that about her, the grateful and frightened girl whose appearance daunted, her loyalty and love that of something rescued from cruelty. She’d lived on garbage; she’d slept with her eyes open. She was strange looking, skittish, intimidated and intimidating. She answered to Max. On her neck she had worn a collar, but now it was gone, torn from her when the car flew off the mountain and rolled over the talus and into the trees below, or snatched away in the turbulent trip down the stream. In the flesh of her neck she had had a surgical procedure to install a microchip that identified her. Some shelters, some veterinarians, knew to scan lost animals for those. Some didn’t.

She lay on the rock, cleaning her wound, her eyebrowed forehead nudging stubbornly, her teeth briefly bared so as to gently pull, precise as tweezers, at something in her fur. Glass, perhaps; it had left tiny cuts on her tongue before she’d begun nipping it out with her teeth. She paused to glance around, holding absolutely still—water, trees, wind, diving swifts and wary deer, gathering night. She had undomesticated origins; the dark did not worry her.

Upstream at least two miles, a man’s voice continued reading sonorously, as it had for an hour now, a curiously old-fashioned voice, overly dramatic, an actor from the continental school, reciting for the third time the opening chapters of Joseph Conrad’s Heart of Darkness. The tape reversed; the story continued, repeated. The car’s driver had been trying to improve her mind. Through New Mexico she had been listening to National Public Radio, and had been fascinated to hear yet another installment of a story from her old hometown, from her own long-ago adolescence, where a serial killer, dormant for decades, had once again been taunting the media, a killer who’d hovered on the periphery of her formative years, his first victims having been neighbors of hers. Strangers, newcomers, but neighbors, nonetheless. Their house, a few doors down from hers, with the precise same floor plan; her uncle, who lived with her then, had been among the many men in the neighborhood initially considered a suspect. Fingerprinted, interrogated, eyed uneasily. Until the killer struck again, elsewhere, they’d all been wary of one another in the vicinity of Edgemoor and Murdock streets. Now the radio said he had made another public overture; he’d been doing it on and off for the last few months. The woman felt a prickling pride in being from the city where he’d killed people, the curious emotion of by-proxy notoriety.

Only after the radio signal fizzled completely, somewhere within the Navajo Nation, just after her second accident, had she been reduced to the book on tape. It was an effort to attend to the story, its teller so sinister with foreshadowing gloom, its language archaic, the syntax unnecessarily convoluted. Plus, she kept suffering the surprising sensation of the truck, from nowhere, jarring her when he clipped her car, a recurrent jolt thereafter, a flash of heat in her sternum, her bare foot leaping briefly from the pedal.

Her daughter was reading this book. She attended boarding school in the East, and the driver, the mother, wished to impress the girl, come Christmas. She wanted badly to make up for what she’d not taken seriously, earlier in her life, which was also what she was now, against intense teenage resistance, insisting that her daughter take seriously.

Affording tuition, fifteen-year-old Cattie had let her know after orientation, did not put them in the same class as her classmates. Give it a shot, the mother had said. That’s all I’m asking.

Okay, said Cattie. But I don’t want to.

The car in which the woman had been traveling, the car she’d handled so heedlessly today, was an expensive one, its interior designed to protect its passengers no matter the external damage, the vehicle boasting its own protective cage. Two months ago it had delivered her and Cattie to Vermont, to the quaint village that held the esteemed school. The mother had driven back across the country alone, then, alone and lonely; she’d taken this trip out of loneliness, too, but in the opposite direction, and without particular destination. She and the dog had traveled across Texas yesterday, stopping in El Paso for the night. Tempted after a few drinks, she’d refrained from dialing her daughter’s cell phone; she’d made that mistake the last time she called Vermont. Then today, sober, she couldn’t think what she’d say to the girl.

She’d crossed the state of Texas yesterday as if to be done with it; today she appeared to have the same agenda with New Mexico, traveling through and out of the rocky desert, So long!, and into Colorado, climbing above 7,000 feet, passing signs announcing the Continental Divide, ascending. The temperature had ranged from 95 to 26 degrees in the course of the journey, its decline in direct proportion to the car’s progress north, and up.

Maybe she would make it her mission to drive through every state, say good-bye to each as she exited.

The animal had yipped when she caught the new air circulating in the cabin, wind that had passed over and brought with it glacier and pine, the scent of falling yellow leaves. She’d shoved her snout at the kennel’s clasp, clicking her clever teeth at the latch, and her owner had reached back to free her, simultaneously cracking a back window so that the animal could further enjoy the mountain air, the car steered momentarily by knees. The dog wouldn’t have perceived the Alpine vistas, the purple mountain tops iced with snow, blue spruce and blonde aspen. She might not have even registered the sharper curves, the way she slid on her padded bed inside the cage. Or she wouldn’t have complained. But something in the air had alerted her, alarmed her, and she’d thrust her nose through the bars, madly licking the driver’s hand. Frustrated, the woman had released her seat belt, and the car, always on call for such foolish maneuvers, sounded its nagging chime. The curve was no more dangerous than others, but there was neither shoulder nor railing, and the drop beside it precipitous. The mystery and whim of the highway engineers, who ran miles of sturdy guardrails in just such precarious places, and then without obvious reason, left a section open—opportunity, break, entry, and access to the yawning firmament.

The car had gone over without skid marks, directly into the lapse of barrier, then rolled longways, head to toe, rather than side to side. Its roof had peeled back on one revolution, and on the next, the windshield had landed in the driver’s lap, a sheet of sparkling pebbles like chain mail. Her neck had been broken during the first tumble, her arm flung over her head by centrifugal force, the fingers snared by the sheered metal moon-roof rim. The dog had been saved by the doubleness of her enclosure: inside the kennel, inside the car’s venerated metal egg. At the bottom of the hill, the vehicle landed on its wheels, finally at rest, not hidden from the highway but not in a location where anyone would be looking. After all, it was the peaks in the distance, the wide-shouldered majesty of Mounts Sunshine and Wilson, brilliantly snow-capped against the purple sky, somehow more vibrant than ordinary three-dimensionality, as if accompanied by the tonal shimmer of a clanged bell, there with a vague shrugging of bluing clouds, golden beams radiating as if from a godly crown, simmering red sun sinking behind. To encounter it was to shiver with pleasure and awe, overcome by beauty. Why would anyone glance down?

That’s not firewood, that’s a tree, said the young woman to the young man who’d dragged his prize to their campsite.

It’ll last all night, he said. It’s huge. He grinned, baring his teeth. He’d dragged the tree by one of its tender speared ends, the heavy broken trunk creating a furrow behind. When he dropped it, he sniffed, frowning at his fingers.

It’s green. See, it just fell, it’s got buds, it still bends. She illustrated by flexing a branch of the poor juniper back and forth like rubber. She did not say that this was more shrub than tree, that what he smelled on his fingers was the unique odor of its berries, which were edible, and which also, by the way, provided the source of his favorite liquor, gin. "Fires are made of dead wood. Dry dead wood." Her boyfriend hadn’t wanted to go camping. He preferred bars and live music for weekend entertainment, sex on a queen-size mattress, in air-conditioning. Everything he’d done on their camping trip so far seemed like sabotage. Maybe he meant these efforts to be funny? He had a strange sense of humor, which had originally attracted Elise to him. He carried his lunch in an iron pail better suited to a factory worker from the forties, Mr. Wannabe Tool and Die. His only shoes were thrift-store Florsheims, his hat a fedora. Now he lit a joint and sat uneasily on his springy tree.

How’s there ever a forest fire if only old dead trees burn? How’s the whole fucking state of California in flames if only the properly seasoned antique shit will go up? You already told me I couldn’t dismantle the fence. The historic horse paddock and corral, long abandoned, rails merely suggesting the creatures they’d once contained.

This former Colorado summer camp had belonged to Elise’s family and ancestors, sold off over the years one waterfront segment at a time. Officially, she was trespassing here. Yet she felt the heavier privilege of ownership, kinship, and did not worry about arrest. Arrest was the only enticement the boyfriend understood. She wished that Lance would make a real try at seeing the place as she wished him to: uniquely beautiful, an old horse pen beside a stream, the pen built on an even more ancient deer park, the perfectly circular deer park centered in the cluster of deciduous trees, cottonwoods and aspen and willows, small forest with spongy ground space for tents and hammocks and fire pits, the nearby stream from which her family had pulled fish and water, in which they had bathed and laundered and swam and built dams and floated rafts. Near which they’d gathered and laughed for decades. On its other side, the mountain stretched fantastically upward, its green-treed base evolving into a craggy cliff face on which you might reasonably expect to see Dracula’s castle. Its brooding height provided miraculous mid-afternoon shade; elk stepped from the cool shadows to approach the water. The corral had been the final family parcel to sell; eventually a trophy log mansion would be built here, a fence and locking gate, a far more elaborate system of No Trespassing signs, a hired man in a combat-worthy vehicle patrolling day and night. Perhaps this was the bittersweet farewell visit, and how unfortunate to have to share it with Lance. Moreover, once they left here, she might be done with Lance for good. She had not conceived of camping as a litmus test. And yet.

This was the second day of their trip. Rain had forced them into Lance’s car, the night before, where they’d eaten corn chips and drunk all of the liquor. The Sentra seats folded back far enough to have been sufficient for passing out. Their entire supply of drinking water had disappeared today to combat hangover. Now they were really camping, preparing to boil stream water over a fire. I’ll find wood, said Elise. She had already erected the tent and unpacked the makings of a camp stew, each act building on an argument in her favor, as if they were engaged in a competition or lawsuit, he more and more clearly the unquestionable loser. He once more fished around in the icy slosh of the cooler box, wishing for another bottle of beer, settling for a tainted chunk of ice.

Elise carried a canvas tote, collecting twigs and branches first, then sticks and bark, finally logs. The ground was soft with fallen leaves, a muffling cushion of yellow and orange and red. She built the pyramid in stages, Lance now sitting on the thick end of his too-fresh juniper, cup of foul cooler box water in one hand, glowing joint in the other. Elise lit a paper grocery sack at the bottom of her tidy pile, then headed out one final time for a last load of dense logs, the ones that would be a pulsing silver ruin by morning, when it was time to start all over again.

Behind her the fire had taken hold, a crackling, pleasing beacon in the moonless night. She was not afraid of the woods; she was proud to think she could survive in the wild. Last night Lance had locked the car doors, securing them inside while the rain and then hail pelted the hood and windshield; it had been amusing, when they were drunk: What did he expect would try to get them? Opposable thumb, Elise had tried to

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