I just finished reading Packer’s latest novel, a novel I couldn’t wait to get my hands on from the time I saw it in Borders until I bought it for myself for my birthday. I enjoyed The Dive from Clausen’s Pier, her first novel, and recommended it to every woman I knew who either liked or did not like to read. The topic was too interesting to pass up–a young woman decides whether she will continue her relationship (engagement, marriage) with her fiancee who has become a paraplegic. This is the kind of question we always ask ourselves, but few writers have the courage to answer. (With the exception of D.H. Lawrence, back in the early 20th century. But Lady Chatterley’s Lover is another story altogether.)
So I’ll just get right to the point about Songs Without Words; it aggravated me. It felt a little like a waste of time. While I noticed Packer’s style had a unique quality of “niceness” in The Dive from Clausen’s Pier, I was so excited by the settings and the contemporary bildungsroman that I ate it up. But the flaws, if you can call them that, seemed to be a little more shiny in her second novel. If I had to find an adjective to describe the writing, I think I would call it Midwestern. There’s a sweetness, a tangy cuteness, to the descriptions and especially dialogue. Sure, she throws in some sex talk and some curse words, but she just can’t cover up the whole doily feel of the thing.
To give her some credit, though, I think Packer’s writing has the potential to be a lot smarter. While I cringed a little at the hokey conversations between the main character, Liz, and her husband, Brody (eck), or the cutesy jokes Liz and her best friend Sarabeth (double eck) make with each other, I noticed that every once in a while, Packer made a really astute observation about friendship, marriage, or parenthood. Early on, Liz, a stay-at-home mom of teenagers, worries that she is not setting the right model for her son when she jumps too quickly to get her husband another piece of toast. But then she justifies it by telling herself that she likes to do things for him. This is the kind of inner debate that modern women deal with all the time, and Packer layers them into the story nicely.
Still, I couldn’t figure out why the role of women in the household and in society wasn’t more of a conflict in the story, and the only reason I could determine is that Packer and her publisher want to sell books. Sure, a writer should be able to write a novel about a generally happy, upper-middle class family with minimal problems. Perhaps too often readers look for a novel to display the harsh, brutal reality of life, or the moral that being wealthy, pretty and thin isn’t all it’s cracked up to be. But in all honesty, since Packer’s readers are moms—moms who have enough time in their schedules to enjoy a book club once a month, and for whom Packer’s second novel is a bit of a celebration—she neatly avoids a further exploration of the emotional consequences an upper-middle class stay-at-home mom endures when all of her attention is focused on family.
Now, those who have read the book would think I missed the whole point. The whole book, they might say, is about just such a consequence. Liz’s teenage daughter is extremely depressed and Liz barely notices before more trauma occurs. Yet the portrayal of Liz is too soft and sympathetic; in Packer’s world, there is too little judgment incurred. While Liz and her husband deal with a brief stint of anger and resentment over their daughter’s illness, their arguments are too…Midwestern? No one really yells, no impassioned, biting comments are made. Not once does Brody tell Liz, even though it may or may not be subtly implied, that if her job is to be a mom, then maybe she should have dealt a little better with their daughter’s problem. I mean, seriously. Liz’s kids are teenagers. She’s home. If all she has to do is be a mom, she surely should have noticed her daughter’s depression. Maybe she was spending too much time cooking delicious dinners, dabbling in arts and crafts, and attending yoga classes.
Yet I think Packer would disagree with me. She may say that she is exploring the issue of women’s roles in contemporary society. But there are too few references of Liz having such unique privileges, and there’s too much lacking in dialogue or conflict to exhibit a proper tone to the story. I couldn’t help feeling encouraged to root for Liz, to see parts of myself in her. But I didn’t want to. I just couldn’t figure out why no one was angry that Liz didn’t do anything of value for the six hours her kids were in school. And I kept reading the novel with the expectation that this element would kick in, finally. I still ended up disappointed. As far as I could tell, there were only three moments where Packer highlights Liz’s too-comfy situation. When we’re first getting to know Liz, we’re told that Liz knew even at Stanford that she didn’t want a career, that she only ever wanted to be a mom. The next is an event at school that she attends with her daughter in which the topic is “where women are today”; when asked what the biggest problem plaguing society is, Liz responds “Caring. That there isn’t enough.” The other moms apparently agree.
This is a Stanford educated woman? Maybe she should spend some time reading the newspapers during that huge break she has from mothering each day.
The last is when she tells her husband that maybe she should have gone back to work when her youngest started school. Brody’s indifferent; he just wants to have sex. They do, often. During the rest of the time, Liz does dishes, cooks nice breakfasts and dinners, paints a bench, and visits a Thai restaurant with her friend, Sarabeth.
Sarabeth and Liz’s relationship is another element of the novel that felt empty. This is supposed to be the subplot, another potential conflict that could interestingly address the way relationships between women friends grow and change and often, end, for a variety of reasons. Yet Packer’s lack of understanding about people’s darker sides makes this cursory exploration feel untrue as well. Sarabeth grows up in a house with a depressed mother and ends up moving in with Liz as a teenager. Liz has the happy home as a child, and later, the happy home as an adult, with no social obligations, as is unnervingly apparent. Meanwhile, Sarabeth goes from married man to married man, has difficulty paying the bills, and is overall, very lonely. It is conceivable that she looks to Liz as a panacea, the person who can give her solace amidst all the drudgery. But surely, there has to be a little jealousy here. Women get jealous of each other, especially when one has everything the other doesn’t. If the book jacket describes Packer as “a gifted chronicler of the interior lives of women,” then she surely has missed some chronicling in her second novel.
It is clear that Packer is aware of all these issues, but made the decision to avoid being a critic of her characters. Instead, she wants to love them, to accept them. Maybe she has been doing a lot of yoga. Or maybe she (or her publisher) is being spineless in her craft as a way to sell more books. I could be wrong, but I believe great literature has to have some sort of political resonance. If Packer wants to regain her literary dignity, she’ll need to unleash some harsher truths, or start writing children’s books.
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