Acclaimed author Valerie Martin returns with a dark comedy about love, sex, an actor's ambition, and the perils of playing a role too well.
In this fictional memoir, Valerie Martin brilliantly re-creates the seamy theater world of 1970s New York, when rents were cheap, love was free, and nudity on stage was the latest craze. Edward Day, a talented and ambitious young actor finds his life forever altered during a weekend party on the Jersey Shore, where he seduces the delicious Madeleine Delavergne and is saved from drowning by the mysterious Guy Margate, a man who bears an eerie physical resemblance to Edward. Forever after, Edward is torn between his desire for Madeleine and his indebtedness to Guy, his rival in love and in art, on stage and off.
Part IMy mother liked to say Freud should have been strangled in his crib. Not that she had ever read one line of the eminent psychoanalyst's writing or knew anything about his life and times. She probably thought he was a German; she might have gotten his actual dates wrong by half a century. She didn't know about the Oedipus complex or the mechanics of repression, but she knew that when children turned out badly, when they were conflicted and miserable and did poorly in school, Freud blamed the mother. This was arrant nonsense, Mother declared. Children turned out the way they turned out and mothers were as surprised as anyone else. Her own strategy for child rearing had been to show no interest at all in how her children turned out, so how could she be held responsible for them?
Proof of Mother's assertions might be found in the relatively normal men her four sons grew to be, not a pervert or a criminal among us, though my oldest brother, Claude, a dentist, has always shown far too much interest in crime fiction of the most violent and degraded sort, and my profession, while honest, is doubtless, in some quarters, suspect. For the other two, Mother got her doctor and lawyer, the only two professions her generation ever recommended. My brothers' specialties have the additional benefit of being banal: the doctor is a urologist and the lawyer handles real estate closings.
My mother was a tall, beautiful woman, with dark hair, fair skin, an elegant long neck, and excellent posture. She was poorly educated and, as a young mother, intensely practical. My father had various jobs in the civil service in Stamford; his moves were sometimes lateral, occasionally up. She hardly seemed to notice him when we were around, but there must have been some spark between them. She had her sons in sets, the first two a year apart, a five-year lapse, and then two more. I was the last, her last effort--this was understood by all--to have a girl.
Even if Freud hadn't encouraged me to, I think I would still have to blame Mother for my craving to be someone else, and not only because she wasn't satisfied with who I am, though she wasn't, not from the start. My middle name is Leslie and that's what I was called at home; I became Edward when I went away to boarding school in Massachusetts. Mother had "gender issues," but none of us realized how serious they were until after she died. This mournful event took place when I was nineteen, a freshman at the University of North Carolina, and it was preceded by a seismic upheaval that lasted six months, during which time Mother left my father for a woman named Helen, who was ten years her junior and bent on destruction.
Mother wasn't naturally a warm person--I know that now--and she must have been lonely and frustrated for years, surrounded from dawn to dark, as she was, by the unlovely spectacle of maleness. A frequent expression upon entering a room in which her sons were engaged in some rude or rowdy masculine behavior was "Why are boys so . . ." As the youngest, I took this to heart and tried to please her, not without some success. I kept my corner of the bedroom spotless, made my bed with the strict hospital corners she used on her own, rinsed my dishes at the sink after the pot roast, meat loaf, or fried chicken dinner, and expressed an interest in being read to. I wasn't picky about the stories, either; tales of girlish heroism were fine with me, hence my acquaintance with the adventures of such heroines as Nancy Drew, the Dana Girls, and all the travails of the shrewdly observant Laura in the Little House books. I know, as few men do, my fairy tales, from Rumpelstiltskin to the Little Goose Girl, stories certainly...
Reviews
The New York Times Book Review...
"Valerie Martin's sort-of thriller, The Confessions of Edward Day, is one of the best novels I've ever read about the actor's psyche.... Martin builds an ominous tension almost Hitchcockian in its trenchant and perverse knowledge about the human animal.... [She] is like a great character actor who never calls attention to the flesh and blood behind the performance, whose art seems to require or at least contain a special kind of humility or perhaps even a desire to sidestep the limelight.... Edward Day possesses a gimlet eye for both the contributions and the eternal follies of his profession.... It's almost enough to make you believe that an actor should run the world. Wait, scratch that -- make it a novelist."
Los Angeles Times...
"The intimacy of Edward's narrative voice is one of the novel's most startling achievements. We gradually cease to like our main character, yet we stagger after him, captivated. Martin's symbolic substructure -- layers of repetition and mirroring -- is so skillfully embedded in her story that we feel its effects without realizing it, like an understated but persuasive musical score.... Actors are selected for survival, which explains why ordinary people both admire and revile them.... Martin's grasp of the theater world of the period--a pre-AIDS bohemia of cheap rent and earnest artistic exploration -- is as sure as her re-creation of Victorian England in Mary Reilly. One never gets the sense that this is a 'historical novel,' packed with colorful but extraneous detail. In fact, her details are masterful in their spareness. Edward's voice is the anchor, and even if he proves to be, at heart, a little less than 'real,' we are more than willing to hear him out."
Edward Herrmann, The Wall Street Journal...
"As an actor who moved to New York in 1970, I inhabited the theater world that Valerie Martin describes in her novel The Confessions of Edward Day. Living on 10th Street between Fifth Avenue and University Place, I drank at Phebe's and the Cedar Tavern, and I worked at the Public Theater when Joe Papp was its emperor -- all places where we find Ms. Martin's protagonist, an actor named Edward Day. But conjuring a milieu requires more than just re-creating the physical environment. Ms. Martin knows this -- she has previously shown a gift for inhabiting her subject in novels such as Mary Reilly, which captured the Victorian London of Dr. Jekyll and Mr. Hyde, and Salvation, about the life of St. Francis of Assisi.... Ms. Martin also gets one thing triumphantly right. At the end of the story, a youngish actor approaches Ed and recalls a role that the older actor played long ago. The part had seemed inconsequential to Ed at the time, and yet the young man says: 'You changed my life.' Ms. Martin has discovered the curse of the profession: Actors can change people's lives, but we have no idea how we do it."
The Buffalo News...
"Menace underlies almost every moment of Valerie Martin's latest marvel, The Confessions of Edward Day. Set in the '70s -- 'before the soybean had been tamed' -- this is a novel full of hungry young pre-Equity actors studying under such Manhattanbased greats as Stella Adler and Sandy Meisner.... Martin's plot is but part of what makes her such a rewarding author. Her gift for suspense is surpassed only by her gifts for dialogue, for description, for variety, for veracity. Not to mention her edge, her wit, her ability to make us smile at the most dire of these actors' times.... Spare with her adjectives, Martin uses only the most apt -- and this gives the book's sex scenes a rare transcendence after which, Day says, 'We were quiet then while the world fell back into place'.... Once again, she has drawn us so willingly into her tangled -- but always welcoming -- web."
The Seattle Times...
"Martin captures the duplicity of the actor perfectly: Sometimes he doesn't know if he's feeling something or if he's acting.... [She] does a terrific job of capturing what it is to go to auditions, work day and night to keep a roof over your head, share camaraderie and rivalry with peers, all to get that longed-for callback for a really great part."
New Orleans Times-Picayune...
"A lively blend of heartbreak and truth-telling, self-deception and hope."
Time Out New York...
"[Martin] maintains a thriller-like pace and keeps her plot twists dark."
The Salt Lake Tribune...
"Jealousy. Envy. Resentment. And don't forget ego, which is what Valerie Martin's eighth novel is mostly about."
Chronogram Magazine...
"[A] smartly-tailored conception.... Martin draws attention to the divide between literary realism and performance; her arena is psychological and her precise metaphors are what the reader cherishes.... Martin's book makes one wonder how anyone can succeed at the tightrope walk of a Brando or Streep, and how anyone could not be tempted."
Edmund White...
"Actors are among the most fascinating and fiery people alive. The Confessions of Edward Day reveals the world of theater actors in New York in the 1970s -- mysterious and charming young people in a great era. Valerie Martin never repeats herself. After a memorable novel about Victorian London (Mary Reilly) and the best book there is about slavery (Property), she has now recreated in stunning detail a recent decade that feels as glamorous and remote as the 1890s or the 1920s."
Blythe Danner...
"Edward Day's confession reminded me of how exciting New York theater really was in the 70s. Valerie Martin has truly captured the reality of being an actor and Edward's tale is as suspenseful as a thriller."
Ben Gazzara...
"Valerie Martin has given us an entertaining and insightful look at the angst, joy and heartbreak that is the work of the actor. Bravo."
About the Creator
VALERIE MARTIN is the author of eight novels, including Trespass, Italian Fever, The Great Divorce, Mary Reilly, and the 2003 Orange Prize-winning Property, and three collections of short fiction.