Dinner at the Homesick Restaurant - …
He almost certainly will. But to appease him, maybe he should have the final word. Here is the last sentence from Dinner at the Homesick Restaurant that Eudora Welty admired so much: "And high above, he seemed to recall, there had been a little brown airplane, almost motionless, droning through the sunshine like a bumblebee."
Anne Tyler: a life's work | Books | The Guardian
The title Dinner at the Homesick Restaurant captures the dichotomy on which her fiction rests: nearly all the characters are homesick in some way – either longing for home, or completely sick of it. This conflict between security, inheritance, love, and their corollaries independence, solitude and freedom, drives many of her narratives: characters are always running away from, or returning to, the marital or childhood home. Kakutani has argued that for Tyler these represent ". "This is why I don't read reviews," Tyler laughs. "I'm not thinking at all about what it means to be American."
(A courting couple in for instance, go out to dinner at an unnamed restaurant and order the gizzard soup.) In the later novels, I pause to think what Ezra would be doing now and I always decide, Oh, well, I guess he’s still plugging away at the restaurant, still unmarried, still alone but basically contented.
Dinner at the Homesick Restaurant (Tyler) - LitLovers
Before she starts, she says she feels very sure how a novel is going to end, but is often wrong. She writes detailed background notes on each of her characters, most of which she doesn't use, and she has to like them. Every so often in the plotting stages, she says, "I have come up with a character, looked at him closely and said 'he's out'. I can't stand him for that long." (How did she manage to sit through all those episodes of The Wire?) Her "good characters have serious flaws, and quite base motives, but none are evil". She even likes Cody in Dinner at the Homesick Restaurant, whose sibling rivalry leads him to steal the love of his brother Ezra's life. "I don't think he's admirable, but I feel a little sorry for him as clearly something has gone very wrong."
A review of the anne tylers dinner at the homesick restaurant
Although feminism, like other external forces, seems to have passed Tyler's fictional worlds by, the women conforming to traditional roles, her work is full of strong, believable female characters: the formidable, if not very likeable, Pearl Tull, or well-meaning Maggie in Breathing Lessons. And she is one of very few contemporary novelists unafraid to place mothers – and even grandmothers – at the heart of her books. For a writer "the post-marriage stages are so much more interesting. Year after year, grating along together, adjusting to each other's foibles and flaws." All marriages, she says, "are mixed marriages", and one of her favourite narrative ploys is to put two opposing elements – usually a prissily fastidious man and a scatty, demonstrative woman – together and chart the reaction as minutely as a chemist. "You were ice and she was glass," Michael and Pauline's daughter observes in the Amateur Marriage.
Dinner at the Homesick Restaurant - Brigham Young …
Despite the determined sunniness of her novels (her only clearly unhappy ending, in Celestial Navigations, was unplanned), every so often the melancholy refrain in the background can be heard with plangency. The opening description of Rebecca in might stand for any of her lost souls. "Once upon a time, there was a woman who discovered she had turned into the wrong person." Or this, from the broadly cheerful Breathing Lessons: "Sifting through these layers of belongings while Ira stood mute behind her, Maggie had a sudden view of her life as circular. It forever repeated itself, and was entirely lacking in hope."