Olive Kitteridge

From the Publisher

NAMED A BEST BOOK OF 2008 BY:

People USA Today The Atlantic The Washington Post Book World Seattle Post-Intelligencer Entertainment Weekly The Christian Science Monitor San Francisco Chronicle Salon San Antonio Express-News Chicago Tribune The Wall Street Journal

Louisa Thomas

Strout's previous novels, Abide With Me and Amy and Isabelle, were also set in New England and explored similar themes: family dynamics, small-town gossip, grief. Those books were good; this one is better. It manages to combine the sustained, messy investigation of the novel with the flashing insight of the short story. By its very structure, sliding in and out of different tales and different perspectives, it illuminates both what people understand about others and what they understand about themselves.
—The New York Times

The New Yorker

The whitecaps in the harbor, some familiar piano chords, the doughnut a man brings to his wife after visiting his lover—Strout animates the ordinary with an astonishing force. These linked stories introduce the inhabitants of Crosby, Maine, where the pull of domestic tragedy is stronger for rarely being spoken of. Angela doesn’t mention the bruises she’s noticed on her mother’s arm at the nursing home; Marlene learns of her husband’s infidelity only after his funeral; Kevin plans to shoot himself, like his mother before him. And there in every story, like a tree that’s been blackened by lightning but still leafs in the spring, stands Olive Kitteridge, a retired math teacher who loves her tulips, bullies her husband, and barks at anyone foolish enough to irritate her. You loathe this woman at the book’s beginning; you long for her at its finish. Strout makes us experience not only the terrors of change but also the terrifying hope that change can bring: she plunges us into these churning waters and we come up gasping for air.

Molly Gloss

There are glimmers of warmth, of human connection, in even the darkest of these stories. Strout's benevolence toward her characters forms a slender bridge between heartbreak and hope, a dimly glimpsed path through minefields of despair. The stifled sorrows she writes of here are as real as our own, and as tenderly, compassionately understood.
—The Washington Post

Publishers Weekly

Strout's tale of an aging schoolteacher too obsessed with the deterioration of her little town of Crosby, Maine, to realize the problems plaguing her own life, is read with vigor by Sandra Burr. Burr's reading makes Strout's characters rich and wonderful in every way, bringing a well-rounded originality to each one. As Olive, Burr's voice slips into a nagging, aged groan that seems perfectly suited for the central character's downtrodden personality. As Olive's husband, Henry, Burr is understated yet powerful. She understands this poignant tale so entirely that her reading becomes reality for the listener. There is a certain melancholy that infects this story, and Burr is poised to capture and relate it to her audience. Simultaneous release with the Random House hardcover (Reviews, Dec. 10).
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

Library Journal

In her third novel, New York Times best-selling author Strout (Abide with Me ) tracks Olive Kitteridge's adult life through 13 linked stories. Olive-a wife, mother, and retired teacher-lives in the small coastal town of Crosby, ME. A large, hulking woman with a relentlessly unpleasant personality, Olive intimidates generations of community members with her quick, cruel condemnations of those around her-including her gentle, optimistic, and devoted husband, Henry, and her son, Christopher, who, as an adult, flees the suffocating vortex of his mother's displeasure. Strout offers a fair amount of relief from Olive's mean cloud in her treatment of the lives of the other townsfolk. With the deft, piercing shorthand that is her short story-telling trademark, she takes readers below the surface of deceptive small-town ordinariness to expose the human condition in all its suffering and sadness. Even when Olive is kept in the background of some of the tales, her influence is apparent. Readers will have to decide for themselves whether it's worth the ride to the last few pages to witness Olive's slide into something resembling insight. For larger libraries. [See Prepub Alert, LJ 12/07.]-Beth E. Andersen, Ann Arbor Dist. Lib., MI

Copyright 2006 Reed Business Information.

Kirkus Reviews

The abrasive, vulnerable title character sometimes stands center stage, sometimes plays a supporting role in these 13 sharply observed dramas of small-town life from Strout (Abide with Me, 2006, etc.). Olive Kitteridge certainly makes a formidable contrast with her gentle, quietly cheerful husband Henry from the moment we meet them both in "Pharmacy," which introduces us to several other denizens of Crosby, Maine. Though she was a math teacher before she and Henry retired, she's not exactly patient with shy young people-or anyone else. Yet she brusquely comforts suicidal Kevin Coulson in "Incoming Tide" with the news that her father, like Kevin's mother, killed himself. And she does her best to help anorexic Nina in "Starving," though Olive knows that the troubled girl is not the only person in Crosby hungry for love. Children disappoint, spouses are unfaithful and almost everyone is lonely at least some of the time in Strout's rueful tales. The Kitteridges' son Christopher marries, moves to California and divorces, but he doesn't come home to the house his parents built for him, causing deep resentments to fester around the borders of Olive's carefully tended garden. Tensions simmer in all the families here; even the genuinely loving couple in "Winter Concert" has a painful betrayal in its past. References to Iraq and 9/11 provide a somber context, but the real dangers here are personal: aging, the loss of love, the imminence of death. Nonetheless, Strout's sensitive insights and luminous prose affirm life's pleasures, as elderly, widowed Olive thinks, "It baffled her, the world. She did not want to leave it yet."A perfectly balanced portrait of the human condition, encompassing plentyof anger, cruelty and loss without ever losing sight of the equally powerful presences of tenderness, shared pursuits and lifelong loyalty.

The Barnes & Noble Review

Olive Kitteridge is the kind of woman you would duck across the street to avoid meeting. She's abrasive as sandpaper rubbed across a scab and unapologetically rude. Now retired, she taught seventh-grade math in the small Maine town of Crosby for years, earning a reputation as the mean teacher who leaves her students flustered and trembling. She is loud, unnerving, tart-tongued, and completely unforgettable.

At some point, we've all had an Olive Kitteridge in our lives. Some of us might even be Olive Kitteridge, though our vanity prevents us from seeing it. It's that kind of familiarity with the Olives of the world which makes Elizabeth Strout's work of fiction such a rich, absorbing reading experience. In Olive Kitteridge, we often bump into pieces of ourselves or people we've known. Just as she did in her previous two novels, Amy and Isabelle and Abide with Me, Strout distills universal human behavior down to the miniature scale of one particular town and its residents.

Olive Kitteridge is labeled "a novel in stories;" but like Sherwood Anderson's seminal collection Winesburg, Ohio, each of the 13 tales can stand on its own. Pull any of them out at random and you'll have a snapshot of coastal New England life rendered in fine-grained detail. To get the full emotional impact of the book, however, it's best to work through the entire mosaic from start to finish, as each story adds another layer to our understanding of what makes Olive tick. Collections of linked stories have been in vogue lately -- including Rebecca Barry's Later, at the Bar, Kate Walbert's Our Kind, and Melissa Bank's The Girls' Guide to Hunting and Fishing -- and Olive Kitteridge ranks among the best of them.

Most, but not all, of the stories center around Olive, her kind-hearted husband, Henry, and their only child, Christopher. Even when other Crosby residents are the focus of the story, Olive can be found at the periphery, sometimes only making a cameo appearance, sometimes playing an integral role in the plot. Her presence is so strong that as we're reading about Angie O'Meara, the lonely alcoholic who plays piano in the local cocktail lounge, we hold our breath waiting for Olive to walk through the door with Henry.

In her fiction, Strout has striven to be all-encompassing, struggling to pack too much sausage in the casing. Amy and Isabelle was nearly too wide-angled for its own good: embracing a mother-daughter relationship, teen pregnancy, spousal abuse, and child abduction in one big, sentimental hug. Olive Kitteridge is no less ambitious, and one of the book's minor faults is the number of secondary characters who move in the background of Olive and Henry's lives. By the halfway point, so many of them have piled up they start to become indistinct.

However, it's the woman with the walnut-shell heart who holds the book together and keeps our attention riveted to the page. A tenth-generation New Englander, Olive keeps a tight rein on her vulnerabilities and expects others to do the same. To her genial, affable husband, she's a cross he silently bears with a forgiving smile. To her son, she can be a tyrannizing terror -- so much so, that as an adult Christopher can only break free of her maternal force-field by moving as far away as the continent will allow: to California.

When we first meet Olive in the opening story, "Pharmacy," we're immediately put off by her ill-temper. Here's her volatile reaction when Henry says, "Is it too much to ask...a man's wife accompanying him to church?"

"Yes, it most certainly is too goddamn much to ask!" Olive had almost spit, her fury's door flung open. "You have no idea how tired I am, teaching all day, going to foolish meetings where the goddamn principal is a moron! Shopping. Cooking. Ironing. Laundry. Doing Christopher's homework with him! And you --" She had grabbed on to the back of a dining room chair, and her dark hair, still uncombed from its night's disarrangement, had fallen across her eyes. "You, Mr. Head Deacon Claptrap Nice Guy, expect me to give up my Sunday mornings and go sit among a bunch of snot-wots!" Very suddenly she had sat down in the chair. " Well, I'm sick and tired of it," she'd said, calmly. "Sick to death."

It's a bold move by Strout -- to make us push away from Olive from the start -- and to the author's credit, she makes it her book-long task to bring us back to Olive, so that by the last story we feel sympathy, if not love, for this flawed character.

Physically, she cuts an imposing figure, moving through life like a battleship under full steam. In "A Little Burst," Strout tells us:

Olive is a big person. She knows this about herself, but she wasn't always big, and it still seems something to get used to. It's true she has always been tall and frequently felt clumsy, but the business of being big showed up with age; her ankles puffed out, her shoulders rolled up behind her neck, and her wrists and hands seemed to become the size of a man's. Olive minds -- of course she does; sometimes, privately, she minds very much. But at this stage of the game, she is not about to abandon the comfort of food.

The stories follow her imposing figure from middle age to widowhood at 74, and we are present at several crucial turning points: at her son's first marriage, to a girl Olive calls "mean and pushy"; when she intervenes in the life of one of her former students contemplating suicide; when Henry has a debilitating stroke in the parking lot of the Shop 'n Save; and when she's taken hostage, held at gunpoint by two drug addicts robbing a hospital pharmacy. It's in this last situation, grippingly told in the story "A Different Road," where we see the first cracks in Olive's hard-shell fa?ade. Through her humiliation as a hostage, her soft insecurities start to show.

In the face of adversity, her simple philosophy has always been, "People manage." Buffeted by circumstance, she finds this increasingly harder to do. Sitting in the nursing home with Henry after his stroke, she thinks, "A scared old woman, is what she is; all she knows these days is that when the sun goes down, it's time to go to bed. People manage. She is not so sure. The tide is still out on that one, she thinks."

In the book's final story, "River," Olive (now a widow) begins a relationship with a man whose wife has just died. By the time we reach this point in the book, we have been through so much with Olive that it's a relief to see her finally grope toward something she might someday recognize as love -- and if not "love," then at least grudging affection. As Olive herself notes in the book's closing lines, she is baffled by the world but does not feel ready to leave it just quite yet. Likewise, it's just as hard for the reader to leave Olive after the last page is turned. --David Abrams

David Abrams's stories and essays have appeared in Esquire, Glimmer Train Stories, The Greensboro Review, and The Missouri Review. He's currently at work on a novel based in part on his experiences while deployed to Iraq with the U.S. Army.