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Lie Down in Darkness Paperback – March 3, 1992
Purchase options and add-ons
- Print length400 pages
- LanguageEnglish
- PublisherVintage
- Publication dateMarch 3, 1992
- Dimensions5.15 x 0.89 x 8 inches
- ISBN-100679735976
- ISBN-13978-0679735977
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Product details
- Publisher : Vintage; First Vintage International Edition (March 3, 1992)
- Language : English
- Paperback : 400 pages
- ISBN-10 : 0679735976
- ISBN-13 : 978-0679735977
- Item Weight : 12.4 ounces
- Dimensions : 5.15 x 0.89 x 8 inches
- Best Sellers Rank: #264,096 in Books (See Top 100 in Books)
- #2,864 in Psychological Fiction (Books)
- #5,030 in Family Life Fiction (Books)
- #15,999 in Literary Fiction (Books)
- Customer Reviews:
About the author
William Styron (1925-2006) , a native of the Virginia Tidewater, was a graduate of Duke University and a veteran of the U.S. Marine Corps. His books include Lie Down in Darkness, The Long March, Set This House on Fire, The Confessions of Nat Turner, Sophie's Choice, This Quiet Dust, Darkness Visible, and A Tidewater Morning. He was awarded the Pulitzer Prize for Fiction, the Howells Medal, the American Book Award, the Legion d'Honneur, and the Witness to Justice Award from the Auschwitz Jewish Center Foundation. With his wife, the poet and activist Rose Styron, he lived for most of his adult life in Roxbury, Connecticut, and in Vineyard Haven, Massachusetts, where he is buried.
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Make no mistake about it, this is a story of alcoholism and mental illness born of both nature and nurture. As we learn from Styron's writings about depression, and from his daughter's recent memoir, so many of the images in this book come from his own struggles through childhood and adolescence. Styron's mother was chronically ill and died when he was very young, replaced by an almost stereotypical "evil stepmother" who becomes a model for Helen Loftis. As Milton Loftis lurches from one tragic drunken event to another, Styron takes us inside his head so compellingly that you're convinced he has been there himself - and he has.
And yet, in a novel that is painfully depressing, the words and the images they summon are excruciatingly beautiful: Every foot of an incoming tide, every flower blooming or wilting, every tacky mile of the Virginia Tidewater region, even Peyton's delusional reveries about flightless birds. Some elements of the book may appear outdated and no longer politically correct: for example, characterizations and descriptions of the African American community. But Styron cannot lie about the time (the 1930s and 1940s) or the place. You can hear it, feel it, smell it, taste it - good and bad.
"Sophie's Choice" and "The Confessions of Nat Turner" brought Styron fame and fortune, but it is this first book that established him as one of the great American writers. "Lie Down in Darkness" will haunt you forever.
While unrelentingly grim (with one brief exception to be noted), and consisting mainly of long episodes -- including an excruciatingly long stream of consciousness at one point -- the writing in this novel is so consistently fine, and the characters so rich, that it is well worth reading and may be a classic.
It's no secret that the impetus of the story is the suicide of the daughter of the other protagonists (or really, antagonists), her parents, Helen and Milton, at the end of WWII. Most of the story takes place in Virginia, their home state. The dynamic between the parents presumably accounts for the fate of the daughter, Peyton. (Their other child, Maudie, had already died of a congenital malady.)
Although there are several flashbacks, one of the unsatisfying aspects of the novel is that one (or at least this reader) can never make out how the marriage's unraveling started. This may well have been intentional by the author, given that one of the characters muses, "and who finally, lest it be God himself, could know where the circle, composed as it was of such tragic suspicions and misunderstandings, began, and where it ended?"
Certainly there is no lack of candidates, and specifically, Helen and Milton themselves, whose flaws are the marrow of the book (colliding externally in the destruction of the marriage and, one could surmise, internally in the destruction of Peyton). These two characters are richly drawn. But I for one sensed a bias in favor of Milton, suggesting that his weaknesses and transgressions owed their origin to his loving Helen too much, despite her incorrigibility. Given that the author is also male, there is always a lurking suspicion about such things. So if in fact an even-handed condemnation was intended, more background would have been helpful to show that the problems of both had existed from the start. Of course that begs the question: "The start of what?" The marriage? But of course there are long stories before that, and before those ... so ultimately no Answer is to be found (and hence as well, I'd say, no cause for condemnation). We can't just say, "Eve did it!"
Also because the flashbacks did not serve ultimately to reveal any final Truth (except perhaps about the proximate source of Peyton's self-destructive personality), each succeeding long scene just meant we were in for yet another horrific social occasion. If you enjoy reading such things, this is your book. But if they mainly make you sad, then this could be viewed as much melodrama or social pornography. Well done, for sure -- but do we want to be exposed to human misery solely for the sake of literary entertainment?
Nevertheless, two aspects of this long sad tale did stand out for me as very well done indeed. One was an occasion when things seemed to be getting better, and in particular from Milton's point of view ... only to be terribly dashed. This really captured that sequence or phenomenon for me; I felt the ecstasy, and then the crash.
The other outstanding depiction, I thought, was of the consciousness of an alcoholic. "Under the Volcano" is sometimes touted as the ultimate rendition of this. But, as impressive as that novel is, I found it rather poetic, as opposed to the realistic psychological portrayal in this novel.
Helen's condition is also very well rendered, but, perhaps simply because there is no obvious name for it, I can't say this reader formed a clear impression of what it was.
All in all, a powerful read, if you can stand it.