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Suddenly (2009)

de Bonnie Burnard

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461550,247 (3.33)3
A phone call in the night, an unexpected diagnosis, a shocking revelation - suddenly life can change forever. 'It's been here, in this bedroom, with Jack and without him, that she has found her only privacy. But now she's surrounded, day and night, by care. Yesterday she told Colleen and Jude that her dying has changed people more than anything else she can think of, and she watched their fixed smiles as it dawned on them that this is what she wants. She wants them to keep up with her. What she is finally beginning to understand is that all those years of talk, the pleasure of idiocy, the bouts of worry, the complaints, the humouring of memory, even the offhand, underdone affection, these are the least of it. The best of it is being known. Known over time.… (mais)
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    The Spare Room de Helen Garner (kathrynnd)
    kathrynnd: Both books are about women, friendship, and cancer.
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A story of strong relationships and friendships and how each character copes with the threat or need to live with illness. Sandra, the primary character is diagnosed with inoperable cancer, months after her friend Jude has successfully recovered from breast cancer, and her husband from heart surgery. While a depressing premise the book is not. ( )
  CarterPJ | Jan 14, 2013 |
There is an honourable place for sad, truthful novels. But death is Suddenly's only plot, and though one might consider it the ultimate plot, it is insufficient on its own. Love, death and grief are difficult subjects for a reason: they are at once too abstract and too familiar.
adicionado por kathrynnd | editarThe Guardian, Sarah Churchwell (Aug 14, 2010)
 
Though some of the more maudlin passages could benefit from the editorial scythe, there are sentences that wouldn't be out of place in one of Carol Shields's novels.
adicionado por kathrynnd | editarThe Independent, Emma Hagestadt (Jul 2, 2010)
 
Burnard often earns comparisons to Alice Munro. Both authors set stories in southern Ontario and are preoccupied with female experience. But their perspectives and their philosophies are distinct: Munro's characters are rarely what they appear. They are often surprised by their own hidden motives, their shocking capacity for deceit. Burnard's characters, on the other hand, are very much what they appear, or at least, they try hard to be. They are decent, prosperous, generous people. Burnard shoos away the notion that good people make dull fiction.
 
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It's a close to perfect August evening at the edge of the water and Sandra is sitting down on the beach on the old tartan blanket, holding a heavy-in-the-hand, low-slung glass of scotch. She is on her own but she asked for this.
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A phone call in the night, an unexpected diagnosis, a shocking revelation - suddenly life can change forever. 'It's been here, in this bedroom, with Jack and without him, that she has found her only privacy. But now she's surrounded, day and night, by care. Yesterday she told Colleen and Jude that her dying has changed people more than anything else she can think of, and she watched their fixed smiles as it dawned on them that this is what she wants. She wants them to keep up with her. What she is finally beginning to understand is that all those years of talk, the pleasure of idiocy, the bouts of worry, the complaints, the humouring of memory, even the offhand, underdone affection, these are the least of it. The best of it is being known. Known over time.

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