: Kathleen Rooney
: Lillian Boxfish Takes a Walk
: Daunt Books
: 9781911547020
: 1
: CHF 8.50
:
: Erzählende Literatur
: English
: 288
: Wasserzeichen
: PC/MAC/eReader/Tablet
: ePUB
'Enchanting.' -- Financial Times In my reckless and undiscouraged youth, I worked in a walnut-panelled office thirteen floors above West 35th Street. Lillian Boxfish is no ordinary 85-year-old. On her arrival to New York in the 1930s she took the city by storm, working her way up from writing copy for Macy's department store to become the world's highest paid advertising woman. Now, alone on New Year's Eve, her usual holiday ritual in ruins, Lillian decides to take a walk. After all, it might be her last chance. Armed with only her mink coat and quick-witted charm, Lillian walks, and begins to reveal the story of her remarkable life. On a walk that takes her over 10 miles around the city, Lillian meets bartenders, shopkeepers, children, and criminals, while recalling a life of excitement and adversity, passion and heartbreak. Based on a true story, Lillian Boxfish Takes a Walk paints a portrait of an extraordinary woman across the canvas of a changing America. 'Like taking a street-level tour through six decades of New York.' -- New York Times 'A love letter to a stylish and atmospheric city... A sharp, wise, entertaining read.'-- Daily Mail 'Easily the best gadding-around-town novel since Dawn Powell and Dorothy Parker.' -- Daniel Handler, author of A Series of Unfortunate Events

Kathleen Rooney is the author of books of poetry, fiction and nonfiction, and her work has appeared in The New York Times Magazine, Salon, and the Chicago Tribune. She works as a senior lecturer in English and Creative Writing at DePaul University in Chicago where she teaches, among other things, a workshop on The Writer as Urban Walker

The only man I ever birthed, though not the only one I mothered, is on the other end of the line, and he is giving me news that is sad and bad and that makes me jealous. Julia, my ex-husband’s second wife, has been hospitalised after a heart attack, her third. She will likely not survive. She is much younger than I – fifteen years if you go by my age as I’ve been lying about it forever, sixteen if you go by my age as I am pretty sure is correct. Either way, she is 68.

Either way, it is 1984, and she is with them, and I am alone on New Year’s Eve in New York City, and it’s too warm. I wish it were snowing, but gently, gently, like sugar falling on a great, grey cookie.

Unlike Julia, my health is and always has been – physically – impeccable.

‘She was struggling in all this Maine snow, when there’s none in California,’ says Johnny, says Gianino, my Little John, says my son, says Gian, as he asked to be called back in junior high school, when it occurred to him that he had the wherewithal. ‘She collapsed coming up the driveway after taking the kids to the library. It’s pretty grim this time, Ma.’

‘Ma’, he calls me – incongruous, ugly – but I enjoy it. Max, my ex-husband, taught him that: the harsh monosyllable sounding working-class, hardly our income bracket. But that was part of what I loved about Max. The blue of his collar to the white of mine. I was not entirely un-maternal toward Max. Of course when, finally, I needed his unconditional support, he could not afford the same care to me.

‘Dreadful,’ I say. ‘I hope the ambulance didn’t founder getting out to Pin Point.’

Gian spends his time between semesters at Pin Point, the summer home Max and I bought in the thirties; perversely, he likes it in winter, too.

‘No, they made it all right,’ he says. ‘I’m at the hospital now. Claire’s mom took the train up from Boston to help out with the kids so I can stay here with Julia. The university’s not back in session until the third week of January, so this honestly couldn’t have happened at a better time.’

This announcement that Gian is calling from the hospital forces me to revise the image of him in my mind, an image I wasn’t even aware of until I knew it was wrong. I picture him now in an overly bright lounge among grim institutional furniture, murmuring into an oft-disinfected courtesy phone. He rests his free hand atop his shaggy head in his distracted fashion – th