Tony and Susan

by Austin Wright Narrated by Lorelei King, Peter Marinker

Overview

Fifteen years ago, Susan Morrow left her first husband, Edward Sheffield, an unpublished writer. Now, she's enduring middle class suburbia as a doctor's wife, when out of the blue she receives a package containing the manuscript of her ex-husband's first novel. He writes asking her to read the book; she was always his best critic, he says.

As Susan reads, she is drawn into the fictional life of Tony Hastings, a math professor driving his family to their summer house in Maine. And as we read with her, we too become lost in Sheffield's thriller. As the Hastings' ordinary, civilized lives are disastrously, violently sent off course, Susan is plunged back into the past, forced to confront the darkness that inhabits her, and driven to name the fear that gnaws at her future and will change her life.

Tony and Susan is a dazzling, eerie, riveting novel about fear and regret, blood and revenge, marriage and creativity. It is simply one of a kind. "A superb and thrilling novel...extrodinary." -- Ian McEwan

"Compelling...mesmerizing...absolutely irresistible."--New York Times

"A perfect and literary puzzle, an irresistible tale anout marriage and murder, both thriling and moving." -- Scott Turow

"A page-turner of a literary thriller." -- Sara Waters

"Beautifully written, perfectly paced, impressively clever, and ultimately shocking in a way you never see coming." -- Nelson DeMille

"Absolutely terrifying, beautiful, and appalling. Parts of it shocked me, and I am not easily shocked." -- Ruth Rendell

Editorial Reviews

Library Journal

By framing a crime story within a domestic novel, Wright, an English professor and author of three previous novels, dissolves the fragile civility that often conceals violence. He also scrutinizes the institution of marriage, considers the nature of memory, and documents the potential impact of one's choices, both large and small--all without sacrificing pace. At Edward Sheffield's request, Susan Morrow reads his first novel, Nocturnal Animals , in which an impulsive change of plan delivers Tony Hastings and his family into the hands of strangers who terrorize them. Passages from Sheffield's novel alternate between Susan's memories of Sheffield (her ex-husband), to details of her current marriage, to her speculations about the writer's and the reader's obligations. By counterpoising the eroding compromises of Susan's daily life with the sufferings of the Hastings family, Wright demonstrates that macho posturing, cruelty, and the refusal of individual responsibility infect both sexes and all classes. Highly recommended.-- Jane S. Baker man, Indiana State Univ., Terre Haute

From the Publisher

"Marvellously written --the last thing you would expect in a story of blood and revenge. Beautiful."—Saul Bellow

"Compelling...Mesmerizing...Absolutely irresistible."—The New York Times

"A masterpiece...A brilliant, brainy novel full of thrills...It would be easy to say that his critical intelligence dominates Tony and Susan, but Wright is a wonderful storyteller, a wonderful novelist...Tony and Susan makes one hunger to read more of Wright's work. "—Chicago-Sun Times

"Absorbing, terrifying, beautiful . . . unforgettable."—Ruth Rendell

"A brilliant novel...Astute, cunning and thrilling in equal measure...deserves to be found by a whole new generation of readers"—Independent (UK)

"My favorite novel of 2010 would have been my favorite novel of 1993 -- if only I had known about it...Wright died at the age of 80; in 2010 TONY AND SUSAN returns to print as his stunning literary legacy."—Min Jin Lee, The Times (UK)

The Times (London)

A thrilling narrative about reading, marriage, crises and revenge.

Independent Whig.

A brilliant novel. . . . Astute, cunning and thrilling in equal measure.

The Guardian

An excellent book: gripping, well-written, structurally interesting.

Sunday Times (London)

A masterful example of narrative intensity and artistic control.

Chicago Tribune

Brilliantly original. . . . Two thrillers in one . . . and each infinitely superior to most thrillers because they play for keeps. . . . Read it at your peril-in daylight, preferably.

Rupert Thomson

A thriller with the grip of a pit bull. . . . With its trapdoor narrative and its psychological sleight-of-hand, this is a novel of immense guile and unsettling velocity. Why Wright isn’t better known is a mystery to me. He’s brilliant.

Seattle Times

Fiction seldom gets this good.

Donna Leon

Creepy, illuminating, quite wonderful.

Big Issue

Manages to combine a truly first-rate thriller with some serious discourse about the relationship between reading and writing.

Chicago Tribune

Brilliantly original. . . . Two thrillers in one . . . and each infinitely superior to most thrillers because they play for keeps. . . . Read it at your peril-in daylight, preferably.

The Times (UK) Min Jin Lee

"My favorite novel of 2010 would have been my favorite novel of 1993 -- if only I had known about it...Wright died at the age of 80; in 2010 TONY AND SUSAN returns to print as his stunning literary legacy."

Independent (UK)

"A brilliant novel...Astute, cunning and thrilling in equal measure...deserves to be found by a whole new generation of readers"

Ruth Rendell

"Absorbing, terrifying, beautiful . . . unforgettable."

Chicago-Sun Times

"A masterpiece...A brilliant, brainy novel full of thrills...It would be easy to say that his critical intelligence dominates Tony and Susan, but Wright is a wonderful storyteller, a wonderful novelist...Tony and Susan makes one hunger to read more of Wright's work. "

The New York Times

"Compelling...Mesmerizing...Absolutely irresistible."

Saul Bellow

"Marvellously written --the last thing you would expect in a story of blood and revenge. Beautiful."

MARCH 2017 - AudioFile

Narrators Lorelei King and Peter Marinker deliver compelling performances of this story-within-a-story. Out of the blue, Susan Morrow’s ex-husband wants her opinion of a novel he’s written. In the book, the fictional Tony Hastings is on a road trip to Maine with his family. As Susan reads the manuscript—and Lorelei King reads it to listeners—it turns out to be a thriller, one that brings growing disquietude to Susan. King’s methodical delivery in portraying Susan serves as a sharp contrast to the syncopated, multiple rhythms Marinker adopts to capture the personalities of the characters in the ex-husband’s novel. His narration moves from a teenager’s brazen frankness to a father’s languid and measured words and the raspy tones of savage malcontents. As the story progresses, Marinker’s delivery makes the ensuing violence palpable. In the end, listeners will find themselves wondering just how thin the line is between barbarism and humanity. E.B. © AudioFile 2017, Portland, Maine

Product Details

BN ID:	2940173556493
Publisher:	Hachette Audio
Publication date:	08/11/2011
Edition description:	Unabridged

Read an Excerpt

Tony and Susan

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By Wright, Austin

Grand Central Publishing

Copyright © 2011 Wright, Austin
All right reserved.
ISBN: 9780446582902

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BEFORE

This goes back to the letter Susan Morrow’s first husband Edward sent her last September. He had written a book, a novel, and would she like to read it? Susan was shocked because, except for Christmas cards from his second wife signed “Love,” she hadn’t heard from Edward in twenty years.

So she looked him up in her memory. She remembered he had wanted to write, stories, poems, sketches, anything in words, she remembered it well. It was the chief cause of trouble between them. But she thought he had given up writing later when he went into insurance. Evidently not.

In the unrealistic days of their marriage there was a question whether she should read what he wrote. He was a beginner and she a tougher critic than she meant to be. It was touchy, her embarrassment, his resentment. Now in his letter he said, damn! but this book is good. How much he had learned about life and craft. He wanted to show her, let her read and see, judge for herself. She was the best critic he ever had, he said. She could help him too, for in spite of its merits he was afraid the novel lacked something. She would know, she could tell him. Take your time, he said, scribble a few words, whatever pops into your head. Signed, “Your old Edward still remembering.”

The signature irritated her. It reminded her of too much and theatened the peace she had made with her past. She didn’t like to remember or slip back into that unpleasant frame of mind. But she told him to send the book along. She felt ashamed of her suspicions and objections. Why he’d ask her rather than a more recent acquaintance. The imposition, as if what pops into her head were easier than thinking things through. She couldn’t refuse, though, lest it look like she were still living in the past. The package arrived a week later. Her daughter Dorothy brought it into the kitchen where they were eating peanut butter sandwiches, she and Dorothy and Henry and Rosie. The package was heavily taped. She extracted the manuscript and read the title page:

NOCTURNAL ANIMALS

A Novel By

Edward Sheffield

Well typed, clean pages. She wondered what the title meant. She liked Edward’s gesture, reconciling and flattering. She had a sneaky feeling that put her on guard, so that when her real husband Arnold came in that night, she announced boldly: I heard from Edward today.

Edward who?

Oh, Arnold.

Oh Edward. Well. What does that old bastard have to say for himself?

That was three months ago. There’s a worry in Susan’s mind that comes and goes, hard to pin down. When she’s not worrying, she worries lest she’s forgotten what she’s worrying about. And when she knows what she’s worrying about, like whether Arnold understood what she meant, or what he meant when he said what he meant this morning, even then she has a feeling it’s really something else, more important. Meanwhile she runs the house, pays the bills, cleans and cooks, takes care of the kids, teaches three times a week in the community college, while her husband in the hospital repairs hearts. In the evenings she reads, preferring that to television. She reads to take her mind off herself.

She looks forward to Edward’s novel because she likes to read, and she’s willing to believe he can improve, but for three months she has put it off. The delay was not intentional. She put the manuscript in the closet and forgot, remembering thereafter only at wrong times, like while shopping for groceries or driving Dorothy to her riding lesson or grading freshman papers. When she was free, she forgot.

When not forgetting, she would try to clean out her mind to read Edward’s novel in the way it deserved. The problem was old memory, coming back like an old volcano, full of rumble and quake. All that abandoned intimacy, his out-of-date knowledge of her, and hers of him. Her memory of his admiration of himself, his vanity, also his fears—his smallness—knowledge she must ignore if her reading was to be fair. She’s determined to be fair. To be fair she must deny her memory and make as if she were a stranger.

She couldn’t believe he merely wanted her to read his book. It must be something personal, a new twist in their dead romance. She wondered what Edward thought was missing in his book. His letter suggested he didn’t know, but she wondered if there was a secret message: Susan and Edward, a subtle love song? Saying, read this, and when you look for what is missing, find Susan.

Or hate, which seemed more likely, though they got rid of that ages ago. If she was the villain, the missing thing a poison to lick like Snow White’s deep red apple. It would be nice to know how ironic Edward’s letter really was.

But though she prepared herself, she kept forgetting, did not read, and in time believed her failure was a completed event. This made her both defiant and ashamed until she got a card from Stephanie a few days before Christmas, with a note from Edward attached. He’s coming to Chicago, the note said, December 30, one day only, staying at the Marriott, hope to see you then. She was alarmed because he’d want to talk about his unread manuscript, and then relieved to realize there was still time. After Christmas: Arnold her husband will be going to a convention of heart surgeons, three days. She can read it then. It will occupy her mind, a good distraction from Arnold’s trip, and she needn’t feel guilty after all.

Anticipating, she wonders what Edward looks like now. She remembers him blond, birdlike, eyes glancing down his beaky nose, unbelievably skinny with wire arms and pointed elbows, genitals disproportionately large among the bones. His quiet voice, clipped words, impatient as if he thought most of what he was obliged to say were too stupid to need saying.

Will he seem more dignified or more pompous? Probably he has put on weight, and his hair will be gray unless he’s bald. She wonders what he’ll think of her. She would like him to notice how much more tolerant, easygoing, and generous she is and how much more she knows. She fears he’ll be put off by the difference between twenty-four and forty-nine. She has changed her glasses, but in Edward’s day she wore no glasses at all. She is chubbier, breasts bigger, cheeks rosy where they were pale, convex where they were concave. Her hair, which in Edward’s day was long straight and silky, is neat and short and turning gray. She has become healthy and wholesome, and Arnold says she looks like a Scandinavian skier.

Now that she is really going to read it, she wonders what kind of novel it is. Like traveling without knowing what country you’re going to. The worst would be if it’s inept, which might vindicate her for the past but would embarrass her now. Even if it’s not inept, there are risks: an intimate trip through an unfamiliar mind, forced to contemplate icons more meaningful to others than herself, confined with strangers she never chose, asked to participate in alien customs. With Edward as guide, whose dominance she once so struggled to escape.

The negative possibilities are tremendous: to be bored, to be offended, bathed in sentimentality, stunned by depression and gloom. What interests Edward at forty-nine? She feels sure only of what the novel will not be. Unless Edward has changed radically, it won’t be a detective story or baseball story or Western. It won’t be a story of blood and revenge.

What’s left? She’ll find out. She begins Monday night, day after Christmas, after Arnold has gone. It will take her three evenings to complete.

Continues...

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Excerpted from Tony and Susan by Wright, Austin Copyright © 2011 by Wright, Austin. Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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