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Eliza Peabody, a slender woman of 50 with dark, flashing eyes, is married to a terribly aloof dignitary and lives in a very posh section of London where everyone knows everyone else and their dogs, or at least pretends to. Eliza, a bit outre because of her lack of children and abundance of imagination, becomes obsessed with Joan, her enigmatic neighbor. We know this because we're privy to some very patronizing letters Eliza writes to Joan just before Joan ditches husband, children, and, yes, dog, and sets out on an arduous journey to such unvacationy places as Bangladesh. Joan's abrupt departure coincides with the disintegration of Eliza's marriage. Eliza slips into a rather mad frame of mind, which we learn about solely through the hilarious and poignant letters she continues to write and not necessarily send to the ever-elusive Joan. Gardam, recipient of two Whitbread Awards, strikes an unusual balance between wit and sweetness, creating a smart but gentle novel that seems to be from a far less explicit era than our own. --Donna Seaman

Kirkus
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The 1991 Whitbread Award winner, by the English author of Crusoe's Daughter (1986), etc., sardonically traces the steady fall (or is it rise?) into madness of a suburban wife with too little to do and too many horrors to shut out of her mind. The neighbors have always considered Eliza Peabody eccentric, with with her loudly voiced opinions, fearless stride, and the pious, admonishing notes she distributes for their enlightenment and edification. But when one of those notesto Joan, across the streetincites that elusive woman to abandon her family for far more exotic locales, Eliza seems really to go off the deep end. Her blizzard of follow-up notes to Joan, which comprise all of Gardam's story, first rush to apologize for her forwardness, then capably detail Eliza's efforts to care for Joan's gloomy husband as they wait for the prodigal wife's return. Eliza envies Joan's courage and adventurousness, being herself a well-educated but rather stodgy woman whose life as the childless spouse of a Foreign Office official has petered out into mindless rounds of volunteer work and shopping. Her notes explore the secrets of the suburb's other residents while resolutely ignoring the fact that Eliza's husband has eloped with Joan's, that Joan's unmarried, college-aged daughter has gotten pregnant, and that Eliza herself, in her terrible loneliness, has begun to neglect her garden, her home, and herself. Eliza may be going insaneher neighbors have begun to treat her with the wary kindness one reserves for the near- psychoticbut at least she's lost her self-righteous edge. As her letters move from stilted lectures to multiple-paged flights of glorious fancy, the roots of her misery begin to emerge, until all her inventions seem a perfectly rational response to the events that prefaced her destruction. A loony, funny taleand an author with a refreshing take on the familiar.

Publishers Weekly
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Winner of Britain's Whitbread Award, Gardam's darkly comic novel is in the form of a series of letters written by a mentally disintegrating woman. (July) (c) Copyright PWxyz, LLC. All rights reserved

Publishers Weekly
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This splendidly engaging, quirky epistolary novel is told from the point of view of Eliza Peabody, a middle-aged woman living in present-day South London. Eliza is an exceptionally unreliable narrator who begins a fervid letter-writing campaign to her neighbor, Joan, after Joan abandons her husband and children to go see the world. Early on, Eliza writes: ``After all, any woman must be sick who can leave that wonderful house, those two energetic children, all Charles's money and dear, uncomplaining Charles himself.... Turkey, Afghanistan, Nepal, China‘all this was done by Victorian women, Joan. There is no need for us to follow the intrepid trail again.'' Soon it becomes clear that Eliza's letters are attempts by one woman to keep another woman down and, by doing so, to justify her own listless life. But Eliza's effort slides into temporary madness. It is revealed that Eliza receives no responses to the scores of letters she writes Joan; that Eliza hardly knows Joan and that, in fact, she doesn't even mail all the letters. This last bit of knowledge becomes increasingly important as, ironically, Eliza's letters allow her to tell her own story. A series of bizarre twists follow one another (for instance, Joan's husband and Eliza's husband move in together) as Gardam knits together antic humor, a complex narrator and a sophisticated narrative form, all the while showing an admirable trust in the reader's ability to perceive the intricate pattern she has woven. (Aug.) (c) Copyright PWxyz, LLC. All rights reserved