Random House: Bringing You the Best in Fiction, Nonfiction, and Children's Books
Authors
Books
Features
Newletters and Alerts

Buy now from Random House

  • The Truth About Love
  • Written by Josephine Hart
  • Format: Trade Paperback | ISBN: 9780307474261
  • Our Price: $14.95
  • Quantity:
See more online stores - The Truth About Love

Buy now from Random House

  • The Truth About Love
  • Written by Josephine Hart
  • Format: eBook | ISBN: 9780307273055
  • Our Price: $11.99
  • Quantity:
See more online stores - The Truth About Love

The Truth About Love

    Select a Format:
  • Book
  • eBook

Written by Josephine HartAuthor Alerts:  Random House will alert you to new works by Josephine Hart

eBook

List Price: $11.99

eBook

On Sale: August 11, 2009
Pages: 224 | ISBN: 978-0-307-27305-5
Published by : Vintage Knopf
The Truth About Love Cover

Bookmark,
Share & Shelve:

  • Add This - The Truth About Love
  • Email this page - The Truth About Love
  • Print this page - The Truth About Love
ABOUT THE BOOK ABOUT THE BOOK
ABOUT THE AUTHOR ABOUT THE AUTHOR
PRAISE PRAISE
READER'S GUIDE READER'S GUIDE
Categories for this book
Tags for this book (powered by Library Thing)
fiction (8) ireland (6) grief (4)
fiction (8) ireland (6) grief (4)
Synopsis|Excerpt

Synopsis

The accidental death of a teenage boy has a profound effect on a small Irish town in this compelling new novel from the bestselling author of Damage. As Sissy, the boy’s mother, struggles to overcome her senseless loss, her daughter, Olivia, works to keep her brother’s memory alive in a swiftly changing country. And Thomas—known as “The German” to his neighbors—is drawn into the family’s grief, forcing him to confront the past that has brought him to Ireland and a new crossroads.
 
A brilliant meditation on love, loss, and the beauty of living even when times are tough, The Truth About Love shows us how men and women are shaped by tragedy, by their inherent characters, and by what they are able to learn from one another.

Excerpt

ONE

. . . today, June 18th, 1962, I, Thomas Middlehoff, known locally as “the German,” attend my first Irish funeral. My housekeeper, Bridget, informed me that there would be no objection. The iconography of this particular death and burial is an unfamiliar one in this place that has known peace for decades. As in all such towns there are recognised routes to eternity: the heart that fails; the cells that in either boredom or rebellion rise up against their host and triumph; the accidental tumble over the edge of life in cars or on bicycles; the exhausted surrender to the sudden storm on water, which “tossed the boat around like . . .”—the metaphor is always dramatic. All these routes eventually seem to have been preordained. This one does not.

The intensity of heat that yesterday had so startled this small town in Ireland has today abated somewhat. The sun shines but its light is now less troubling. The day is warm but it no longer soars in triumph as though it had wished to teach an uncomfortable lesson to those who had failed to factor its burning rays into their sartorial decisions.

The cathedral is full. Mourners who’d arrived too late to be seated huddle in the aisles, some leaning against the confessional boxes in which they normally kneel in darkness. I stand at the back and carefully follow the proceedings in a missal loaned to me by Bridget. It had been handed to me with an air of solemnity, as though it were an ancient letter of introduction that would guarantee safe passage to its recipient. Bridget herself had received it from her grandmother, no doubt with equal solemnity. Bridget has two missals. The new one, a gift from her son, has, perhaps due to a generational imperative, supplanted in importance the older gift which, nevertheless, I was honour-bound to return to her after the funeral.

The ritual of mass begins with the sign of the cross, the ultimate emblem of the sacrifice that mass celebrates. So that no one need doubt its significance, the sign of the cross is made no fewer than fifty-two times during the ceremony. Bridget’s son had evidently counted them once at a Sunday mass, a fact that, though it impressed Bridget greatly, implied to me that this was not a boy in whom resided excessive reverence.

This is a Mass for the dead. Bridget has explained to me that as such it is shorter, due to the omission of certain psalms, “Judica me,” which Bridget had quoted to me with such feeling I had later turned to it in the missal and memorised it. “For Thou art my strength; Why hast Thou cast me off? And why do I go sorrowful whilst the enemy afflicteth me?” It is magnificent. Its omission is appropriate. I concentrate on my missal and after some time I note a certain stirring in the congregation. Slowly the mourners stand up and move from their pews. Someone behind me whispers “offerings.” An orderly queue is formed and men—mostly, I would guess from their age and bearing, the heads of families—are joined by a number of women who shuffle forward with lowered faces, clutching large handbags to them as though they were an aid to gender identification. A number of the men hold white envelopes clasped tightly in their hands and stare straight ahead. Others have placed their envelope carefully in a jacket pocket from which it slightly protrudes, like the edge of a carefully ironed handkerchief.

All move forward silently until they stand before Tom O’Hara and Father Dwyer who are positioned together behind a dark carved-wood table. This has been placed to the left of a small side chapel, in which, on a high bier, the body of Tom O’Hara’s son lies in its coffin. Each man hands over his envelope, his offering. I note all this as I too make my way forward, as Bridget had told me would be expected of me. When it is finally my turn to stand before this man, this bereaved father, Tom O’Hara, I do not look at him. I had noted from their bowed heads that those in front of me had also failed this test of courage. His “thank you” is muffled. It’s a strange gratitude. Bridget had informed me that all monies go to the Parish and that the amount collected is, in a sense, a measure of the sympathy and grief. Measure for measure. As I walk back to my pew I observe Mrs. O’Hara and her daughter and son sitting in the front pew. They sit motionless, isolated in a place of honour no one begrudges them.

Then it is over. Everyone stands. Family and relatives now make their way to the side chapel. To bear witness, no doubt, as the coffin is borne out to the waiting hearse on the shoulders of men, among them his father. Mourners scatter; the men scurry, heads down, towards their cars. Their wives walk slowly, smartly dressed, suits mostly though it is a summer day, heads adorned with discreet hats, mantillas on the heads of the younger women. Car doors open and close with care. Noise cannot be borne today. Everyone, even children, senses the need for quietness.

I decide that I too will walk behind the hearse. It is, I feel, correct that I should do so. It is appropriate. And so the long, slow procession trails its way through the town in which today, for this cortège, every shop has closed. Had it been a state funeral it could not have been more evocative of a dignified expression of grief. At last, perhaps after forty minutes, we arrive at the graveyard, one of mankind’s most underrated symbols of civilisation. A small graveyard is a most particular resting place. It is a place in which the dead may nestle but do not mingle. Here, in this Irish cemetery, the mass grave is unknown. A certain propriety maintains.

As the coffin of the boy is lowered there is a dangerous moment. The boy’s sister seems to sway forwards toward the open grave. In a second she is caught. A priest places his hands, with some force, on her shoulders and steadies her. Separation of the dead from the living often requires strength. Another continues with the prayers.

A handful of earth is thrown over the coffin and the process of filling in a grave commences. After some time mourners begin to drift away. I look around awkwardly, aware that Dr. Carter is in conversation with Father Dwyer and that Bishop Fullerton is speaking quietly to Mr. O’Hara. I am an observer and a stranger, the one I feel almost essential to the other. The elective outsider, the truthful observer of the scene requires an anatomical eye, which I have endeavoured over the years to develop.

My eye now meets that of another, it is caught and trapped for a moment by that of Mrs. O’Hara. There is no escape from it. Her eye is a cold eye, unblinking, frozen perhaps in a memory of what it has witnessed. I take a step toward her but she turns away. I am released into freefall.

Then the vision comes unbidden. Why does the mind allow intrusion against our will? I saw her falling. I saw my mother falling. She did not fall in parts. She fell in her entirety through a powder of the dove-grey dust of shattered masonry. The white-grey stone leg of the statue of a tall young man fell with her. The subtle difference in the shades of white and grey that day delineated contours as sharply as crimson on a black background. The stone boy had stood sentinel in the long colonnade that connected the drawing room to the conservatory. He had been a reliable companion in the childhood games I had played with my brother. He had been just. He had never taken sides. The conservatory, I remember, did not disintegrate that day. Such anomalies are more common in the aftermath of bombing than one might imagine. My mother had just left the drawing room and was, in her last minutes, close to her stone companion who, heroically, fell with her, his leg the first dismembering, then the second, his arm. It broke off in an arc and for a moment it seemed as though he threw it towards her —as if to say, “Take it, take it! Cling to this, this part of me that I offer to you.” Then the falling, fast. The vision dies. And I am here, again, in this place. At an Irish funeral, my first Irish funeral.

Bishop Fullerton now approaches Mrs. O’Hara. He talks to her. Rather, he talks at her. She simply looks at him. Does he also feel trapped? He steps back from her slightly. I move forwards. Each of us is wrong. She turns away and toward her husband. It’s time to go home. Tom O’Hara guides her away. Mourners separate to make a path for them. Priest and bishop stand aside for them. Their grief takes precedence over the normal hierarchical structure of this community. Murmuring quietly, a procession follows them. Some scatter to left or right to stand by other graves. Eamonn, the bishop’s driver, who takes him to and from my house for our chess evenings, approaches me. Would I like to go with the bishop to the O’Haras’ house? I am uncertain whether this invitation comes from Bishop Fullerton or from the O’Hara family. I decline. I will walk home. Though hours remain this day is over.


TWO

It is not true that I discourage visitors from Lake House. It is, however, true that I do not issue invitations. I exclude from this assessment my monthly chess game with Robert Carter and, on separate evenings, with Bishop Fullerton. Since this is a surprisingly formal society I am untroubled by any intrusion by townspeople, other than those who make the three-mile journey for the not necessarily companionable purpose of earning their living.

There exists between myself and Bridget, my non-resident housekeeper, respect, tolerance, and on her part determination that Irish charm will eventually wear me down and I will, “like all strangers who come here, Mr. Middlehoff, fall in love with the place.” Her use of my name is in its own way an act of intimacy, since I am aware that in the town they simply call me “the German.” As a statement of exclusion this is as accurate as it is definitive. It is one I welcome. I believe I carry with me what every German carries with them, an aura, an emanation. I am German. You know me. I regard myself as under an obligation in this matter. “That this is done shall stand for ever more.” And a day. I am mindful of my responsibility as a member of a cursed tribe. In Ireland there is of course no “te absolvo.” There is, however, little interest in a story of evil that the Irish do not fully believe possible. For had they known the truth, some slight readjustment to their view of their own modern history might have been necessary. The moral demands, even of peripheral images, might have blurred the purity of their ancient vision. However, I continue to appreciate a certain discretion concerning the history of my country that I had not found elsewhere in my exile.

Though I remain sensible to my inclusion almost two months ago in the congregation of mourners at the funeral of the boy, I do not seek, nor have I been offered, further integration. Robert Carter, whose medical attendance on the day of the accident had been in a sense accidental, has also retreated to the comparatively isolated position of Protestant doctor in an Irish town. My friendship with him, a former Major in the Medical Corps of the British Army, is no doubt mysterious to them. Perhaps they are convinced that it is based solely on a passion for the game of chess, a game for which their temperament renders them wholly unsuited. As I wonder whether my father would agree with this judgement I hear the sound of a car on gravel and, looking from my study window, see Tom O’Hara emerge from his battered Morris Minor like a man who had been trapped too long in a small cupboard and must now carefully test the limbs that had been forced into abnormal contortions. He looks around and then, it seems, straight at me as I stand by the window. I have no alternative but to leave my study and proceed down the long parquet-floored hall towards the dark oak door that separates me from this uninvited guest. I open my heavy door, slowly.

“Good morning Mr. Middlehoff. I’ve come about the gate.”

“Good morning Mr. O’Hara.”

“Good morning Mr. Middlehoff,” he says again. And again, “I’ve come about the gate.”

The note is abrupt, even peremptory. How am I to respond? This man, whose rather leonine head and large body speak to a slower, calmer nature, is now in a place I recognise and I know the price the terrain exacts. Courtesy, absolute courtesy is now required. It is a balm and today I apply it for my own protection as well as his.

“Which gate, Mr. O’Hara? Which gate? I’m sorry, Mr. O’Hara, but I do not know to what you refer.”

“Didn’t your estate manager, Tim, mention it?”

“No.”

“I asked him to. You’re sure he didn’t mention it?”

“I am sure.”

“Well then I’m sorry. I wouldn’t be here otherwise.”

“No?”

“Do you think I would just turn up at a stranger’s house, Mr. Middlehoff? Just turn up here and ask him for a gate? Is that what you think of us? Is that the kind of people you think we are?”

“I’m sorry, Mr. O’Hara. This a surprising visit and a most surprising request. As for Tim, he is spending a week in Wexford.”

“In Wexford?”

“Yes.”

“Must be the sister then.”

“Yes.”

“Well, well! The gate. The one with the helmet on the top. You know the one: it marks the end of Lake Lane. You brought it here. Took down Edmund Pennington’s old wooden gate.”

“I know the gate, Mr. O’Hara. It marks the perimeter of my land. So indeed I know the gate.”

“Of course you do. It’s yours! Well, I want to buy it from you.”

“You wish to purchase my gate from me? Why?”

“My son, the lad, admired it. Saw it all the time when he waited in the club rowing boat for the island swimmers to be ready. Gazed at it, told me he made up stories about it. Said it was a warrior’s gate because of the carved helmet at the top. He was at that age. Warriors, heroes, you know.”

And I remember my last conversation with the boy.

“I know what you mean and may I again, Mr. O’Hara, express my deepest sympathy to you and your family.”

“Thank you. Thank you. I’m aware it’s a very strange request.”

“It is, Mr. O’Hara.”

“I’ve got it in my head no other gate will do.”

“That is something that often happens. Will you please come in, Mr. O’Hara? Coffee, perhaps?”


From the Hardcover edition.
Josephine Hart

About Josephine Hart

Josephine Hart - The Truth About Love

Photo © Charlie Hopkinson

Josephine Hart is the best-selling author of Damage, Sin, Oblivion, The Stillest Day, and The Reconstructionist. Her work has been translated into twenty-seven languages. She lives in London with her husband, Maurice Saatchi, and their two sons.
Praise

Praise

“[A] compelling look at family and memory, despair and redemption. . . . Passionate and heart-felt.” —The Wall Street Journal

“A quiet masterpiece. . . . It is hard not to go hurtling through this book, with its controlled yet vast embrace of all that is terrifying about living.” —New York Post

“Sophisticated. . . . Hart shows how love of family and love of country can feed from each other.” —The New York Times Book Review
 
“An ambitious and poetic weaving of a long-ago family tragedy into the tragic history, and histories, of our time. Josephine Hart has come home in triumph.” —John Banville

“In this compelling and remarkable book, Hart has written a moving lament for exile. . . . A tour de force. . . . There are echoes of Beckett and Joyce in Hart’s writing.” —The  Times Literary Supplement (London)
 
“Deeply moving. . . . [The Truth About Love] packs a punch far beyond its size. . . . An uncompromising tale that explores grief, redemption, and misery.” —Irish Independent
 
“A bleak tale, beautifully told, about the burden we must all, as human beings, survive.” —The Times (London)
 
“Hart’s dialogue is extraordinary, blending poetry and naturalism like the great Irish playwrights.” —The Independent (London)
 
“A brave novel. . . . Hart’s [characters] live beyond the confines of even her fiery and elegant prose.” —The Guardian (London)
 
“[The Truth About Love] embraces themes of heart, soul, pride and shame of country, guilt and memory, emphasizing that the past will not be ignored. . . . Its universal themes will resonate with readers, underscoring that losses are unavoidable for those who love, and enduring is not easy, but that is part of living.” —Las Vegas Review-Journal
 
“A genuine, deeply felt story of love and loss.” —Daily Mail
Reader's Guide|About the Book|Author Biography|Discussion Questions|Suggestions

About the Book

The questions, discussion topics, and reading list that follow are intended to enhance your reading group's discussion of The Truth About Love, Josephine Hart's masterful novel about love, loss, and memory.

About the Guide

It opens in a small Irish town in the 1960s with the accidental death of a teenage boy who commits one final, heartrending act of love.

Then three brilliantly realized voices-the boy's mother, his older sister, a German expat neighbor-speak the story into existence. Their descriptions of the aftermath of the boy's death mix with meditations and conversations about other loves tested, twisted, or lost-in the past and forward, through the next forty years-as they struggle to make sense of tragedy: the boy's, their own, their countries'.

In Sissy, the mother, we see how the desperate love of her husband and the delicate bravery of her daughter lure her away from her profound grief. In Thomas-“the German” to his neighbors-we see a man who knows all too well that “after a tragedy, many survivors are lost.” In Olivia, the boy's sister, we see someone who remains intent on embracing the “weapon of memory.”

These voices speak with piercing emotion and intellect and, in Josephine Hart's deft hands, they describe whole lives. Moment by moment we come to understand how these men and women are shaped in essential ways by the boy's death, by their inherent characters, and by what they learn from one another about loss and love-and what it takes to bear them both.

About the Author

Josephine Hart is the best-selling author of Damage, Sin, Oblivion, The Stillest Day, and The Reconstructionist. Her work has been translated into twenty-seven languages. She lives in London with her husband, Maurice Saatchi, and their two sons.

Discussion Guides

1. The novel's title is The Truth About Love. What do you think Hart's “truth about love” really is? What would each narrator say?

2. Reread the epigraph, from Gottfried Benn. Now that you've read the novel, how do you understand it? Has your understanding changed from when you first read it?

3. Discuss the opening scenes. What were you thinking as you read these pages? Why didn't the boy want his mother to see him?

4. On page 24, Middlehoff describes himself as “an observer and a stranger, the one I feel almost essential to the other. The elective outsider, the truthful observer of the scene requires an anatomical eye, which I have endeavoured over the years to develop.” Is he right about the necessity of detachment to be a truthful observer? Does he manage to become one?

5.  Why is the gate so important to the O'Haras? To Middlehoff?

6. Several times in the novel, Tom O'Hara asserts, “Living close to what is lost, that's the only way.” Do you agree with this? Which characters don't, and why?

7. On page 33, Middlehoff tells Tom, “After a tragedy, many survivors are lost.” What does this mean? Which survivors are lost in this story?

8. Discuss the character Harriet Calder. What is her purpose in the novel? Why does Middlehoff accept her behavior?

9. Erik Middlehoff's book on Ireland was to be entitled The Weapons of the Country, with the categories Language, Love, and Memory. In what ways are these weapons to the Irish? Which is most powerful?

10. On page 71, Bishop Fullerton says, “There's a world of difference between a free nation building its soul on the tales of men who fought hard and long against a ruthless oppressor and breaking young minds with the weight of old sadnesses and burdening young shoulders with an unpayable debt to ghosts.” What is he referring to? Do you think the O'Haras would agree?

11. Middlehoff says his father “said a nation could forget, exploit, obscure, or live with its history” (page 72). Which does Ireland do? And Germany?

12. What role do fathers play in the novel? And mothers? Who is more influential?

13. Reread the passage on pages 122-3 that begins “Poor Olivia.” Is Sissy right about her legacy?

14. Why do you think Olivia is successful as an actress? How has her life prepared her for it?

15. On page 154, Olivia wonders if, in his book, Middlehoff was “trying to warn us? Or give us absolution?” What is she referring to?

16. Olivia says very little about her husband and children. Why is that?

17. Several times in the novel, characters talk about “the love of my life.” What do they mean when they say that? Who truly has found that kind of love?

18. Discuss Middlehoff's revelations on page 175, and his speech on page 183. How does the notion of guilt-both individual and collective-affect the characters in this novel?

19. Compare Tom O'Hara's love for Sissy with Thomas Middlehoff's love for Harriet. How are they different? How similar? And the women themselves?

20. Why does Bogus become so important to Olivia's story?

21. How much did you know about Ireland's history before reading this novel? Do you now want to learn more?

22. Reread the closing paragraph of the novel. Why does Olivia say that Middlehoff understood?


(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

Remembrance of Things Past by Marcel Proust; Primal Vision by Gottfried Benn; Elective Affinities by Johann Wolfgang von Goethe; Irish Journal by Heinrich Böll; Peeling the Onion by Günter Grass; Atonement by Ian McEwan; The Gathering by Anne Enright

  • The Truth About Love by Josephine Hart
  • August 10, 2010
  • Fiction - Literary
  • Vintage
  • $14.95
  • 9780307474261

Your E-Mail Address
send me a copy

Recipient's E-Mail Address
(multiple addresses may be separated by commas)

A personal message: