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  • Games To Play After Dark
  • Written by Sarah Gardner Borden
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  • Games to Play After Dark
  • Written by Sarah Gardner Borden
  • Format: eBook | ISBN: 9780307743190
  • Our Price: $11.99
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Games To Play After Dark

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Written by Sarah Gardner BordenAuthor Alerts:  Random House will alert you to new works by Sarah Gardner Borden

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On Sale: May 03, 2011
Pages: | ISBN: 978-0-307-74319-0
Published by : Vintage Knopf
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Synopsis|Excerpt

Synopsis

When Kate and Colin meet at a party in Manhattan their connection is electric. They marry quickly, moving to the suburbs, and in the light of day they seem like any young couple, but the games they play after dark are far from routine.

 




From the Trade Paperback edition.

Excerpt

1

Kate and Colin met at a party thrown by Kate and her West Twelfth Street apartment mate, Darcy, a party Colin turned up at only by happenstance, knowing neither Kate nor Darcy and tagging along with a friend of a friend. They were recently out of college and young enough so that it didn’t matter whether one was invited to a party or not. Strangers would wander into strange apartments and get themselves drinks and make out with other strangers on ripped sofas in the dusty corners of candlelit rooms.

Darcy had majored in art history but now worked as a paralegal at a high-powered law firm in Midtown by day and chased investment bankers by night. While Darcy put in long hours for lawyers, Kate did financial projections for Liz Claiborne. She and Darcy swapped clothes and went out every Thursday, Friday, and Saturday. They ate pasta with tomatoes and basil at restaurants with the doors open to the sidewalk in the summer. They went to bars where Drew Barrymore hung out with her guitarist boyfriend or where a friend’s band was playing. They poked around flea markets, bought scarves of Indian silk, drank coffee from blue-and-white paper cups, averted their eyes from a man defecating on Houston Street. They fiddled with the apartment on the weekends and once in a while had someone come to clean, a sweet, thin Polish woman with recurring bruises on her face and a deep, abiding love for Elvis Presley. They did their laundry in the basement and sent the dressier things out for dry cleaning. Mondays, they opened a bottle of cheap white wine and watched Melrose Place.

On the day of the party they tidied up and then spent the afternoon at Balducci’s, where they bought, among various snacks and ingredients, a tremendous ham. They put the groceries away and got dressed. Darcy pulled back her hair and poured herself and Kate a glass of wine and tied on an apron. Recklessly, she was attempting several complicated recipes from the Union Square Cafe cookbook. She prepared Roman-Style Marinated Olives and Bruschetta Bianca and set them out in the living room. Kate put on a secondhand pink velvet minidress and knee-high black boots. She applied makeup and buzzed in the first batch of guests. Darcy drank more wine and made Parsnip Pancakes and began to garnish each one with a tiny dollop of sour cream. Kate received cluster after cluster of guests, some she knew and some she didn’t. The party had been conceived of as a dinner party but it seemed to be morphing into something resembling a fraternity party. Kate retreated to the open kitchen and watched Colin, whose name she had not yet learned, hold the door for two slurring, shrieking girls on their way out. This manly young man holding the door, with his blue-checked button-down shirt and nice manners, looked as though he did not belong at this suddenly dreadful party. His glasses gave him a stern, righteous look. His hair, blond, was already thinning. In spite of the latter, she found him handsome.

Darcy still had Creamy Polenta with Mascarpone; Red Oakleaf and Bibb Salad with Gruyère, Garlic Croutons, and Dijon Vinaigrette; Mashed Turnips with Frizzled Leeks; and Stuffed Chicken Breasts with Herbed Goat Cheese to go. The buzzer persisted. People leaked from the living room into the bedrooms. Friends meandered tipsily into the kitchen to say hi. Darcy was dropping things and beginning to break a sweat.

“You could serve the sour cream on the side,” Kate suggested. “You could put it in a cute little bowl or something.”

“But you know how that is; when a bunch of people are dipping the dip gets all ick.” Darcy’s face had begun to fall apart a bit and her stockings had run. She charged around the kitchen in her high heels with her pinned-up vermilion hair coming down.

“You could put a spoon in the dip and then they could use the spoon to put the sour cream on their pancake and then the ick would be avoided.”

“But they won’t know what the spoon is for!” Darcy cried.

“You could put up a little sign. Directions. You could make an announcement.”

The buzzer rang. “Will you get that? Will you get that?” Darcy asked. When she felt anxious, which was often, she said things twice.

Kate buzzed the guests in but did not bother to greet them. She went back to the kitchen and Darcy—both disheveled, both staggering toward catastrophe, both running roughshod over their original intentions.

Darcy finished putting sour cream on the pancakes—the final dollops panicked and sloppy—and began skinning turnips with a vegetable peeler. Kate watched, tending to the buzzer and drinking her wine. Every so often a turnip would slip and shoot out of Darcy’s palm and land in the prehistoric muck of the sink.

“Is Luke here? Have you seen Luke?” Luke, a trader at Goldman Sachs whom Darcy regularly put out for, was clearly blowing off the party. But every time the buzzer rang Darcy’s spine would snap into place and her face would fly open—then everything would go loose and shut down again.

“Is it Luke? Is it?” Darcy swept aside the turnips and opened a jar of peppercorns and blitzed half the jar in the coffee grinder.

Kate looked out into the hallway. Raucous guests were carrying the ham into the bathroom, setting it on Darcy’s digital scale. “Don’t worry about Luke. Plenty of cute guys here.”

“I haven’t even started the chicken.” Darcy dumped the ground peppercorns into a coffee mug. Reaching for the salt she overturned the open spice jar, and dozens of tiny peppercorns leaped onto the linoleum floor, where they jumped joyfully for a full minute.

“What can I do? This?” Kate stepped up to the sink and took the turnips. She stood at the sink, as Darcy had, but when it occurred to her that they lacked a disposal and therefore a definitive reason to peel vegetables at the sink, she moved aside and began to peel the turnips right onto the counter. She searched for a clean bowl in which to put the peeled turnips but there wasn’t one. She attempted to wash one but the water in the sink rose forebodingly. She poked at the drain for a minute or two with a wooden cooking spoon. Darcy wiped her eyes with a checkered dishcloth and opened a sheaf of goat cheese and began to smash it, in its wrapper, with damp chopped herbs.

The buzzer again. Kate shook out her wet hands.

“Is it Luke? Is it?”

“Sorry, honey.” Kate poured herself more wine.

Darcy sagged against the fridge. “He doesn’t love me.”

“No. He doesn’t love you,” Kate answered, carelessly. She stood with a turnip in each hand, considering the sink. Registering her own utterance, she whipped around, as if realizing, too late, that she’d knocked something fragile off a small, interfering table.

“I’m going to pass out, I think,” Darcy said. She put her head down on the counter.

“Wait. Not yet.” Kate brushed Darcy’s sweaty bangs out of her face and went to her own bedroom and got a Valium, one swiped from a stash she’d discovered two Christmases ago in her mother’s medicine cabinet. She fed the pill to Darcy.

Darcy slid against the cabinets to the floor like she’d been shot. Colin rounded boisterously in, swinging two handfuls of empties. He registered Darcy, Kate, the sink. He put down the bottles and reached in and unclogged the drain, as if he weren’t afraid of taking on something chaotic and feminine.

“You live here?” he asked Kate.

“I do.”

Darcy, bearing the pancakes, had gone out to join the party. Kate and Colin were straightening up the kitchen, washing dishes and wrapping the now obsolete goat cheese and herbs and raw chicken breasts. She put things away in the lower cabinets, he in the higher ones. He was tall, though not unapproachably so, both his height and build reassuringly average.

“You don’t look like you live here.”

“No?”

“You’re pretty. And . . . you smell good.” He closed the fridge and stood with his back to it, legs apart, hands in pockets. His eyes were blue behind the glasses.

“It’s kind of a dump,” she admitted. “But . . . not usually this bad.”

“What happened?”

“This was supposed to be a dinner party. You know. Civilized.”

“Oh, well.”

“I guess we’re not ready for that.”

“Guess not.”

Later they put Darcy, flattened by Valium and wine, into bed in her ravaged stockings. They collected bottles and tossed stray food. They piled glasses in the sink. They wiped off the ham and wrapped it and put it away. Then they went to Kate’s room. She showed him her high school yearbook, her CD collection, and the IKEA cabinet she’d assembled herself. He kissed her and pushed her up against the wall and then down on the bed, where they struggled for a while. Her dress came off. Her boots and stockings came off. Her hair came down. He produced a magnificent erection. They ground against each other. Colin, on top, supported himself in the gentlemanly manner with his arms. Contraception was mentioned. Kate rummaged tipsily around Darcy’s medicine cabinet and her own. Withdrawal was suggested by him and rejected by her, it being a delicate time of the month. To compensate, she took him in her fist, then her mouth.

. . .

it was immediately clear to her that if she gave him the opportunity to love her he would—and while she felt, dimly, that her motivations were devious somehow next to his, her character suspect beside his seemingly honest and upstanding and simple one, that she looked on their entanglement as an experiment, an adventure, while he looked on the same as a righteous endeavor, she wasn’t sure she could resist. He wanted her, and her narcissism flowered expansively under the hot orange light of his craving. She told him of her mother’s anxiety, the other men she’d been with, her father’s temper, the time she’d strayed from her family in a Moroccan bazaar, the time she’d had a pea stuck up her nose for an entire summer. Colin told her how it had flooded on the day of his commu- nion, how he’d been held at gunpoint by a hitchhiker, how his father’s skin had turned yellow before he died last April. Later she learned that he wore his socks inside out because he didn’t like the feel of the seams, that he ate his hamburger first and his fries after.
Sarah Gardner Borden

About Sarah Gardner Borden

Sarah Gardner Borden - Games To Play After Dark
Sarah Gardner Borden holds an MFA from the Warren Wilson Program for Writers. Her fiction and non-fiction have appeared in a variety of journals, including Open City, Willow Springs, the Chicago Reader, Other Voices, Literary Mama, and the New Haven Review. She lives in Brooklyn.
Praise

Praise

“Deserves to become a classic. . . . The careful crafting of this story, the diligent attention to detail and the intelligent sense of the complexities of the closest of family relationships make Games to Play After Dark an astonishingly mature achievement for a first-time novelist. It’s a book that bears rereading and thinking about, and Sarah Gardner Borden is certainly one of the new writers to watch.” —The Washington Times

“In her searing, un-put-downable debut novel, Sarah Gardner Borden brilliantly explores the darkest corners of family life.” —Marie Claire

Games to Play After Dark springs from the gate at a rapid clip . . . effectively conveys the unrelenting nature of the crush of days that spread out before the protagonist like so much housework in need of tending. . . . Like its predecessors—Revolutionary Road and The Awakening alike—Games to Play After Dark offers an unflinching glimpse into the secret desperation of the American mother. As moving as it is disturbing, Ms. Borden’s debut is, above all, honest. With any luck, we’ll get a lot more of the same from this talented novelist in the coming years.” —New York Journal of Books

“Sarah Gardner Borden’s exciting novel reads like a thriller, but it is the menacing nature of the very ordinary that is so scary here. She gets underneath the mundane details of  everyday life—All that stuff! The chores! The driving!—and reveals the real mess our expectations and desires can get us into. Kate, at the center, is deftly and affectionately drawn. The writing is confident, sharp, and exhilarating. This is an impressive debut.” —Bobbie Ann Mason, author of In Country

“An unsparingly honest portrait of one marriage’s devolution into train wreck. Borden covers it all—from the resentments that build over childcare to the sex that’s no longer fun. Reading Games to Play After Dark is as intimate an experience as reading someone’s diary.” —Lucinda Rosenfeld, author of I’m So Happy for You and What She Saw. . .
 
Games to Play After Dark at first disguises itself as a story of bright young love, until Kate and Colin's marriage changes, delicately and inexorably, from a charmed union into something dark and somehow unavoidable. Sarah Gardner Borden's debut is captivating and deftly rendered—a layered, disquieting examination of family life.” —Michelle Wildgen, author of But Not For Long and You're Not You
 
“Brilliantly structured and impossible to put down, Games to Play After Dark is the story of a young wife and mother who struggles earnestly, messily, even violently, to understand her own discontent with a seemingly ideal existence. The novel catches you up on Kate's troubled past just as that past catches up with Kate, so by the end you feel the full force of that collision: powerful, hopeful, unforgettable.” —Robin Black, author of If I Loved You, I Would Tell You This

Reader's Guide|About the Book|Author Biography|Discussion Questions|Suggestions

About the Book

The questions, discussion topics, and suggested reading that follow are designed to enhance your group’s discussion of Sarah Gardner Borden’s Games to Play After Dark, an intimate portrait of a marriage.

About the Guide

Kate and Colin meet at a party in New York City and quickly embark on the rituals of courtship: they recount stories about their pasts, learn to accommodate each other’s quirks, and spend days (sometimes whole weekends) in bed. In thrall to Colin’s need for her and the sexual chemistry between them, Kate giddily accepts his marriage proposal. They move to Connecticut to be close to his work and eventually start a family. Kate adapts to the roles expected of her. She’s a conscientious mother, compliant wife, and works part-time to set a good example for her daughters. Engaged in the demands of day-to-day routines, Kate and Colin seem like any suburban couple. But the games they play after dark are far from routine.
 
Interweaving disquieting vignettes of Kate’s past and a gripping narrative of a marriage haunted by hidden shames and secret desires, Games to Play After Dark is a novel of astonishing power.

About the Author

Sarah Gardner Borden holds an MFA from the Warren Wilson Program for Writers. Her fiction and non-fiction have appeared in a variety of journals, including Open City, Willow Springs, the Chicago Reader, Other Voices, Literary Mama, and the New Haven Review. She lives in Brooklyn.

Discussion Guides

1. Does Kate’s reaction to Colin’s proposal and the future she envisions show a lack of maturity and self-knowledge [pp. 10–11]?  Does she ignore or dismiss the flaws and inequalities in their relationship? What is the significance of the following passage:  “She could see that doing what he wanted was compelling for both of them, and that to resist would interfere with the sexual chemistry that served as foundation for their bond” [p. 15]?

2. How would Kate describe her treatment of her father and the reasons for it [pp. 17–18]?   What details illuminate the emotional undercurrents of the father-daughter relationship and set the stage for the flashback to her childhood? 

3. Why is the visit to Colin’s sister and the trip through Europe a turning point in Kate and Colin’s marriage [pp. 32-41; pp. 44–45]?  Are they equally complicit in exploiting each other’s proclivities and weaknesses?

4. After several years of marriage, “Kate and Colin wandered from room to room like bored teenagers . . . .  The sex got rougher, as if to compensate. And every once in a while they would fight, badly" [p. 62].  Is the boredom, lack of passion, and tension they experience a natural progression in marriage? What do Kate’s memories of these early years indicate about her need to see her marriage—and herself—in a certain light [pp. 66–67]? 

5. What are the implicit and explicit messages Kate receives about femininity and sexuality during her childhood [pp. 19–22; pp. 68–71]? Do her father’s opinions about marriage and the roles of men and women and their relative value represent a particular class, time, and place? Do you find Dennis’s devotion to Kate and his condescension toward Edie reprehensible? Does Edie reinforce the lessons Kate gets from Dennis?  Is she guilty of neglecting her responsibilities as a mother?

6. Discuss the combination of affection and scorn that characterizes Kate’s attitude toward her mother.  Does she see Edie in a more compassionate light as the novel unfolds? If so, what accounts for this?

7. The relationship between Kate and Dennis profoundly changes when Kate enters adolescence. For Kate, “the fault, the source of their estrangement, is hers; the problem rises directly from her flighty, supplicating body”  [p. 79].  Does this self-perception influence—and validate—her sexual encounters with the Anderson boys next door?  Why does she choose Rudy rather than Topher as the object of her sexual drives and desires [pp. 195–207]?

8. Why does Kate exclude Colin from the events surrounding her father’s death [pp. 82–95]?  Does she deliberately provoke Colin when she returns home, and if so, what is her motivation?  What is the literal and symbolic significance of Kate’s breaking and cutting herself on the glass bowl? 

9. As she adjusts to motherhood, Kate experiences the mixed emotions shared by many women. Do the images she conjures up (“The fatigue was like a small rodent working its way through her brain” [p. 104]) and comparison she makes between having a household and “a rare glandular disorder” [p. 105] express these feelings well or did you find them disturbing?  Do the conflicts Kate and Colin deal with reflect the reality of contemporary middle-class marriage [pp. 107–132]? 

10. What light does their session with the therapist shed on the sources of their anger, anxieties, and priorities as individuals and as a couple [pp. 137–148]? Do the revelations have an effect on the way they think about and interact with each other?

11. How does Kate see herself in relation to the women she works with at the Rose Center [pp. 159–164; pp. 208–213]?  Does she draw parallels between their situations and the choices she’s made in her own life? How do their tales and confessions affect her interactions with Colin—including their sexual encounters [pp. 175–177; pp. 187–190]?  How do you interpret Kate’s suggestion that “we should go back to that then . . . . When I respected you and you didn’t respect me. That was better” [p. 190]?

12. Why does Kate have an affair with Jack Auerbach? What role does her dissatisfaction with her life and marriage play? How does Jack’s connection to her father enhance his appeal as a friend and as a sexual partner?

13. What do Dennis, Colin, and Jack have in common? In what ways do Kate’s relationships with them blur the lines between the attachment of parent and child and the romantic feelings and intimacy shared by lovers? 

14. How has Kate changed by the end of the novel? Why does she make the decision she does?

15. Does the author depict the men and women in an even handed way? Does she employ stereotypes in her portraits of the main characters?  To what extent are the men seen as villains and the women as victims? Would you describe Games to Play After Dark as a feminist novel?

16. As a child, Kate internalizes the voices of the Valkyrie Valeries and they continue to haunt and taunt her throughout her life. What do the Valkyries, the mythological warrior maidens of Norse myth, and the trio of Valeries represent?  What situations or emotional states trigger their appearances?

17. The ongoing chronology of the novel is alternated with flashbacks to Kate’s past.  How does the focus of the flashbacks evolve as the book progresses? In what ways do the flashbacks enhance and clarify the present?  What does the novel reveal about why we fall in love with the people we do?

18. Games to Play After Dark deals with the serious issue of abuse and its consequences in a direct, often harrowing manner. Why does Borden include these graphic scenes? What reasons or explanations does the novel give for domestic violence? Discuss the impact of physical abuse on the bonds among family members. 

19. What associations did the title have for you before you read the novel? In what ways does it redefine and expand your understanding of the games men and women play?


(For a complete list of available reading group guides, and to sign up for the Reading Group Center enewsletter, visit: www.readinggroupcenter.com.)

Suggested Readings

Ann Beattie, Another You; Elizabeth Berg, The Art of Mending; John Cheever, Bullet Park; Michael Cunningham, By Nightfall; Sue Miller, Lost in the Forest; Rick Moody, The Ice Storm; Tom Perrotta, Little Children; Anna Quindlen, Black and Blue; Anita Shreve, Strange Fits of Passion; Jane Smiley, Ordinary Love and Good Will; John Updike, Couples; Richard Yates, Revolutionary Road.

  • Games To Play After Dark by Sarah Gardner Borden
  • May 03, 2011
  • Fiction - Literary
  • Vintage
  • $14.95
  • 9780307740908

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