Despite Otto's protests, Sophie puts out a dish for a stray that roams the Bentwoods' neighborhood--an area which is also home to enormous poverty, and in which they, in their renovated townhouse, sit like distant royalty. The cat sinks its teeth into her hand and instantly we are plunged into the heart of what plagues every aspect of this couple's lives: the threat of rabies. Where the cat is concerned, it's literal rabies, but the book is also steeped in the sense that a kind of social rabies lurks just outside the Bentwoods' and indeed the whole world's door. As Sophie suddenly realizes at one point: "Ticking away inside the carapace of ordinary life and its sketchy agreements was anarchy."

Throughout Fox's gorgeously crafted, unflinching portrait of a dying marriage and a country at war with itself, the Bentwoods fight the desire to self-destruct like everything around them. At one point, Otto screams at Sophie: "What in God's name do you want? Do you want Charlie to murder me? Do you wish the farmhouse had been burned down?... Do you want to be rabid?" She doesn't, of course, but in a certain way, that outcome makes sense. "'God, if I am rabid, I am equal to what is outside,' she said out loud, and felt an extraordinary relief as though, at last, she'd discovered what it was that could create a balance between the quiet, rather vacant progression of the days she spent in this house, and those portents that lit up the dark at the edge of her own existence." How fortunate and rare to discover such a perfect articulation of the human condition. --Melanie Rehak

Despite Otto's protests, Sophie puts out a dish for a stray that roams the Bentwoods' neighborhood--an area which is also home to enormous poverty, and in which they, in their renovated townhouse, sit like distant royalty. The cat sinks its teeth into her hand and instantly we are plunged into the heart of what plagues every aspect of this couple's lives: the threat of rabies. Where the cat is concerned, it's literal rabies, but the book is also steeped in the sense that a kind of social rabies lurks just outside the Bentwoods' and indeed the whole world's door. As Sophie suddenly realizes at one point: "Ticking away inside the carapace of ordinary life and its sketchy agreements was anarchy."

Throughout Fox's gorgeously crafted, unflinching portrait of a dying marriage and a country at war with itself, the Bentwoods fight the desire to self-destruct like everything around them. At one point, Otto screams at Sophie: "What in God's name do you want? Do you want Charlie to murder me? Do you wish the farmhouse had been burned down?... Do you want to be rabid?" She doesn't, of course, but in a certain way, that outcome makes sense. "'God, if I am rabid, I am equal to what is outside,' she said out loud, and felt an extraordinary relief as though, at last, she'd discovered what it was that could create a balance between the quiet, rather vacant progression of the days she spent in this house, and those portents that lit up the dark at the edge of her own existence." How fortunate and rare to discover such a perfect articulation of the human condition. --Melanie Rehak

Despite Otto's protests, Sophie puts out a dish for a stray that roams the Bentwoods' neighborhood--an area which is also home to enormous poverty, and in which they, in their renovated townhouse, sit like distant royalty. The cat sinks its teeth into her hand and instantly we are plunged into the heart of what plagues every aspect of this couple's lives: the threat of rabies. Where the cat is concerned, it's literal rabies, but the book is also steeped in the sense that a kind of social rabies lurks just outside the Bentwoods' and indeed the whole world's door. As Sophie suddenly realizes at one point: "Ticking away inside the carapace of ordinary life and its sketchy agreements was anarchy."

Throughout Fox's gorgeously crafted, unflinching portrait of a dying marriage and a country at war with itself, the Bentwoods fight the desire to self-destruct like everything around them. At one point, Otto screams at Sophie: "What in God's name do you want? Do you want Charlie to murder me? Do you wish the farmhouse had been burned down?... Do you want to be rabid?" She doesn't, of course, but in a certain way, that outcome makes sense. "'God, if I am rabid, I am equal to what is outside,' she said out loud, and felt an extraordinary relief as though, at last, she'd discovered what it was that could create a balance between the quiet, rather vacant progression of the days she spent in this house, and those portents that lit up the dark at the edge of her own existence." How fortunate and rare to discover such a perfect articulation of the human condition. --Melanie Rehak

Despite Otto's protests, Sophie puts out a dish for a stray that roams the Bentwoods' neighborhood--an area which is also home to enormous poverty, and in which they, in their renovated townhouse, sit like distant royalty. The cat sinks its teeth into her hand and instantly we are plunged into the heart of what plagues every aspect of this couple's lives: the threat of rabies. Where the cat is concerned, it's literal rabies, but the book is also steeped in the sense that a kind of social rabies lurks just outside the Bentwoods' and indeed the whole world's door. As Sophie suddenly realizes at one point: "Ticking away inside the carapace of ordinary life and its sketchy agreements was anarchy."

Throughout Fox's gorgeously crafted, unflinching portrait of a dying marriage and a country at war with itself, the Bentwoods fight the desire to self-destruct like everything around them. At one point, Otto screams at Sophie: "What in God's name do you want? Do you want Charlie to murder me? Do you wish the farmhouse had been burned down?... Do you want to be rabid?" She doesn't, of course, but in a certain way, that outcome makes sense. "'God, if I am rabid, I am equal to what is outside,' she said out loud, and felt an extraordinary relief as though, at last, she'd discovered what it was that could create a balance between the quiet, rather vacant progression of the days she spent in this house, and those portents that lit up the dark at the edge of her own existence." How fortunate and rare to discover such a perfect articulation of the human condition. --Melanie Rehak

Despite Otto's protests, Sophie puts out a dish for a stray that roams the Bentwoods' neighborhood--an area which is also home to enormous poverty, and in which they, in their renovated townhouse, sit like distant royalty. The cat sinks its teeth into her hand and instantly we are plunged into the heart of what plagues every aspect of this couple's lives: the threat of rabies. Where the cat is concerned, it's literal rabies, but the book is also steeped in the sense that a kind of social rabies lurks just outside the Bentwoods' and indeed the whole world's door. As Sophie suddenly realizes at one point: "Ticking away inside the carapace of ordinary life and its sketchy agreements was anarchy."

Throughout Fox's gorgeously crafted, unflinching portrait of a dying marriage and a country at war with itself, the Bentwoods fight the desire to self-destruct like everything around them. At one point, Otto screams at Sophie: "What in God's name do you want? Do you want Charlie to murder me? Do you wish the farmhouse had been burned down?... Do you want to be rabid?" She doesn't, of course, but in a certain way, that outcome makes sense. "'God, if I am rabid, I am equal to what is outside,' she said out loud, and felt an extraordinary relief as though, at last, she'd discovered what it was that could create a balance between the quiet, rather vacant progression of the days she spent in this house, and those portents that lit up the dark at the edge of her own existence." How fortunate and rare to discover such a perfect articulation of the human condition. --Melanie Rehak

Despite Otto's protests, Sophie puts out a dish for a stray that roams the Bentwoods' neighborhood--an area which is also home to enormous poverty, and in which they, in their renovated townhouse, sit like distant royalty. The cat sinks its teeth into her hand and instantly we are plunged into the heart of what plagues every aspect of this couple's lives: the threat of rabies. Where the cat is concerned, it's literal rabies, but the book is also steeped in the sense that a kind of social rabies lurks just outside the Bentwoods' and indeed the whole world's door. As Sophie suddenly realizes at one point: "Ticking away inside the carapace of ordinary life and its sketchy agreements was anarchy."

Throughout Fox's gorgeously crafted, unflinching portrait of a dying marriage and a country at war with itself, the Bentwoods fight the desire to self-destruct like everything around them. At one point, Otto screams at Sophie: "What in God's name do you want? Do you want Charlie to murder me? Do you wish the farmhouse had been burned down?... Do you want to be rabid?" She doesn't, of course, but in a certain way, that outcome makes sense. "'God, if I am rabid, I am equal to what is outside,' she said out loud, and felt an extraordinary relief as though, at last, she'd discovered what it was that could create a balance between the quiet, rather vacant progression of the days she spent in this house, and those portents that lit up the dark at the edge of her own existence." How fortunate and rare to discover such a perfect articulation of the human condition. --Melanie Rehak

Despite Otto's protests, Sophie puts out a dish for a stray that roams the Bentwoods' neighborhood--an area which is also home to enormous poverty, and in which they, in their renovated townhouse, sit like distant royalty. The cat sinks its teeth into her hand and instantly we are plunged into the heart of what plagues every aspect of this couple's lives: the threat of rabies. Where the cat is concerned, it's literal rabies, but the book is also steeped in the sense that a kind of social rabies lurks just outside the Bentwoods' and indeed the whole world's door. As Sophie suddenly realizes at one point: "Ticking away inside the carapace of ordinary life and its sketchy agreements was anarchy."

Throughout Fox's gorgeously crafted, unflinching portrait of a dying marriage and a country at war with itself, the Bentwoods fight the desire to self-destruct like everything around them. At one point, Otto screams at Sophie: "What in God's name do you want? Do you want Charlie to murder me? Do you wish the farmhouse had been burned down?... Do you want to be rabid?" She doesn't, of course, but in a certain way, that outcome makes sense. "'God, if I am rabid, I am equal to what is outside,' she said out loud, and felt an extraordinary relief as though, at last, she'd discovered what it was that could create a balance between the quiet, rather vacant progression of the days she spent in this house, and those portents that lit up the dark at the edge of her own existence." How fortunate and rare to discover such a perfect articulation of the human condition. --Melanie Rehak

Despite Otto's protests, Sophie puts out a dish for a stray that roams the Bentwoods' neighborhood--an area which is also home to enormous poverty, and in which they, in their renovated townhouse, sit like distant royalty. The cat sinks its teeth into her hand and instantly we are plunged into the heart of what plagues every aspect of this couple's lives: the threat of rabies. Where the cat is concerned, it's literal rabies, but the book is also steeped in the sense that a kind of social rabies lurks just outside the Bentwoods' and indeed the whole world's door. As Sophie suddenly realizes at one point: "Ticking away inside the carapace of ordinary life and its sketchy agreements was anarchy."

Throughout Fox's gorgeously crafted, unflinching portrait of a dying marriage and a country at war with itself, the Bentwoods fight the desire to self-destruct like everything around them. At one point, Otto screams at Sophie: "What in God's name do you want? Do you want Charlie to murder me? Do you wish the farmhouse had been burned down?... Do you want to be rabid?" She doesn't, of course, but in a certain way, that outcome makes sense. "'God, if I am rabid, I am equal to what is outside,' she said out loud, and felt an extraordinary relief as though, at last, she'd discovered what it was that could create a balance between the quiet, rather vacant progression of the days she spent in this house, and those portents that lit up the dark at the edge of her own existence." How fortunate and rare to discover such a perfect articulation of the human condition. --Melanie Rehak

Despite Otto's protests, Sophie puts out a dish for a stray that roams the Bentwoods' neighborhood--an area which is also home to enormous poverty, and in which they, in their renovated townhouse, sit like distant royalty. The cat sinks its teeth into her hand and instantly we are plunged into the heart of what plagues every aspect of this couple's lives: the threat of rabies. Where the cat is concerned, it's literal rabies, but the book is also steeped in the sense that a kind of social rabies lurks just outside the Bentwoods' and indeed the whole world's door. As Sophie suddenly realizes at one point: "Ticking away inside the carapace of ordinary life and its sketchy agreements was anarchy."

Throughout Fox's gorgeously crafted, unflinching portrait of a dying marriage and a country at war with itself, the Bentwoods fight the desire to self-destruct like everything around them. At one point, Otto screams at Sophie: "What in God's name do you want? Do you want Charlie to murder me? Do you wish the farmhouse had been burned down?... Do you want to be rabid?" She doesn't, of course, but in a certain way, that outcome makes sense. "'God, if I am rabid, I am equal to what is outside,' she said out loud, and felt an extraordinary relief as though, at last, she'd discovered what it was that could create a balance between the quiet, rather vacant progression of the days she spent in this house, and those portents that lit up the dark at the edge of her own existence." How fortunate and rare to discover such a perfect articulation of the human condition. --Melanie Rehak

Despite Otto's protests, Sophie puts out a dish for a stray that roams the Bentwoods' neighborhood--an area which is also home to enormous poverty, and in which they, in their renovated townhouse, sit like distant royalty. The cat sinks its teeth into her hand and instantly we are plunged into the heart of what plagues every aspect of this couple's lives: the threat of rabies. Where the cat is concerned, it's literal rabies, but the book is also steeped in the sense that a kind of social rabies lurks just outside the Bentwoods' and indeed the whole world's door. As Sophie suddenly realizes at one point: "Ticking away inside the carapace of ordinary life and its sketchy agreements was anarchy."

Throughout Fox's gorgeously crafted, unflinching portrait of a dying marriage and a country at war with itself, the Bentwoods fight the desire to self-destruct like everything around them. At one point, Otto screams at Sophie: "What in God's name do you want? Do you want Charlie to murder me? Do you wish the farmhouse had been burned down?... Do you want to be rabid?" She doesn't, of course, but in a certain way, that outcome makes sense. "'God, if I am rabid, I am equal to what is outside,' she said out loud, and felt an extraordinary relief as though, at last, she'd discovered what it was that could create a balance between the quiet, rather vacant progression of the days she spent in this house, and those portents that lit up the dark at the edge of her own existence." How fortunate and rare to discover such a perfect articulation of the human condition. --Melanie Rehak

Despite Otto's protests, Sophie puts out a dish for a stray that roams the Bentwoods' neighborhood--an area which is also home to enormous poverty, and in which they, in their renovated townhouse, sit like distant royalty. The cat sinks its teeth into her hand and instantly we are plunged into the heart of what plagues every aspect of this couple's lives: the threat of rabies. Where the cat is concerned, it's literal rabies, but the book is also steeped in the sense that a kind of social rabies lurks just outside the Bentwoods' and indeed the whole world's door. As Sophie suddenly realizes at one point: "Ticking away inside the carapace of ordinary life and its sketchy agreements was anarchy."

Throughout Fox's gorgeously crafted, unflinching portrait of a dying marriage and a country at war with itself, the Bentwoods fight the desire to self-destruct like everything around them. At one point, Otto screams at Sophie: "What in God's name do you want? Do you want Charlie to murder me? Do you wish the farmhouse had been burned down?... Do you want to be rabid?" She doesn't, of course, but in a certain way, that outcome makes sense. "'God, if I am rabid, I am equal to what is outside,' she said out loud, and felt an extraordinary relief as though, at last, she'd discovered what it was that could create a balance between the quiet, rather vacant progression of the days she spent in this house, and those portents that lit up the dark at the edge of her own existence." How fortunate and rare to discover such a perfect articulation of the human condition. --Melanie Rehak

Despite Otto's protests, Sophie puts out a dish for a stray that roams the Bentwoods' neighborhood--an area which is also home to enormous poverty, and in which they, in their renovated townhouse, sit like distant royalty. The cat sinks its teeth into her hand and instantly we are plunged into the heart of what plagues every aspect of this couple's lives: the threat of rabies. Where the cat is concerned, it's literal rabies, but the book is also steeped in the sense that a kind of social rabies lurks just outside the Bentwoods' and indeed the whole world's door. As Sophie suddenly realizes at one point: "Ticking away inside the carapace of ordinary life and its sketchy agreements was anarchy."

Throughout Fox's gorgeously crafted, unflinching portrait of a dying marriage and a country at war with itself, the Bentwoods fight the desire to self-destruct like everything around them. At one point, Otto screams at Sophie: "What in God's name do you want? Do you want Charlie to murder me? Do you wish the farmhouse had been burned down?... Do you want to be rabid?" She doesn't, of course, but in a certain way, that outcome makes sense. "'God, if I am rabid, I am equal to what is outside,' she said out loud, and felt an extraordinary relief as though, at last, she'd discovered what it was that could create a balance between the quiet, rather vacant progression of the days she spent in this house, and those portents that lit up the dark at the edge of her own existence." How fortunate and rare to discover such a perfect articulation of the human condition. --Melanie Rehak

Despite Otto's protests, Sophie puts out a dish for a stray that roams the Bentwoods' neighborhood--an area which is also home to enormous poverty, and in which they, in their renovated townhouse, sit like distant royalty. The cat sinks its teeth into her hand and instantly we are plunged into the heart of what plagues every aspect of this couple's lives: the threat of rabies. Where the cat is concerned, it's literal rabies, but the book is also steeped in the sense that a kind of social rabies lurks just outside the Bentwoods' and indeed the whole world's door. As Sophie suddenly realizes at one point: "Ticking away inside the carapace of ordinary life and its sketchy agreements was anarchy."

Throughout Fox's gorgeously crafted, unflinching portrait of a dying marriage and a country at war with itself, the Bentwoods fight the desire to self-destruct like everything around them. At one point, Otto screams at Sophie: "What in God's name do you want? Do you want Charlie to murder me? Do you wish the farmhouse had been burned down?... Do you want to be rabid?" She doesn't, of course, but in a certain way, that outcome makes sense. "'God, if I am rabid, I am equal to what is outside,' she said out loud, and felt an extraordinary relief as though, at last, she'd discovered what it was that could create a balance between the quiet, rather vacant progression of the days she spent in this house, and those portents that lit up the dark at the edge of her own existence." How fortunate and rare to discover such a perfect articulation of the human condition. --Melanie Rehak

Despite Otto's protests, Sophie puts out a dish for a stray that roams the Bentwoods' neighborhood--an area which is also home to enormous poverty, and in which they, in their renovated townhouse, sit like distant royalty. The cat sinks its teeth into her hand and instantly we are plunged into the heart of what plagues every aspect of this couple's lives: the threat of rabies. Where the cat is concerned, it's literal rabies, but the book is also steeped in the sense that a kind of social rabies lurks just outside the Bentwoods' and indeed the whole world's door. As Sophie suddenly realizes at one point: "Ticking away inside the carapace of ordinary life and its sketchy agreements was anarchy."

Throughout Fox's gorgeously crafted, unflinching portrait of a dying marriage and a country at war with itself, the Bentwoods fight the desire to self-destruct like everything around them. At one point, Otto screams at Sophie: "What in God's name do you want? Do you want Charlie to murder me? Do you wish the farmhouse had been burned down?... Do you want to be rabid?" She doesn't, of course, but in a certain way, that outcome makes sense. "'God, if I am rabid, I am equal to what is outside,' she said out loud, and felt an extraordinary relief as though, at last, she'd discovered what it was that could create a balance between the quiet, rather vacant progression of the days she spent in this house, and those portents that lit up the dark at the edge of her own existence." How fortunate and rare to discover such a perfect articulation of the human condition. --Melanie Rehak

Despite Otto's protests, Sophie puts out a dish for a stray that roams the Bentwoods' neighborhood--an area which is also home to enormous poverty, and in which they, in their renovated townhouse, sit like distant royalty. The cat sinks its teeth into her hand and instantly we are plunged into the heart of what plagues every aspect of this couple's lives: the threat of rabies. Where the cat is concerned, it's literal rabies, but the book is also steeped in the sense that a kind of social rabies lurks just outside the Bentwoods' and indeed the whole world's door. As Sophie suddenly realizes at one point: "Ticking away inside the carapace of ordinary life and its sketchy agreements was anarchy."

Throughout Fox's gorgeously crafted, unflinching portrait of a dying marriage and a country at war with itself, the Bentwoods fight the desire to self-destruct like everything around them. At one point, Otto screams at Sophie: "What in God's name do you want? Do you want Charlie to murder me? Do you wish the farmhouse had been burned down?... Do you want to be rabid?" She doesn't, of course, but in a certain way, that outcome makes sense. "'God, if I am rabid, I am equal to what is outside,' she said out loud, and felt an extraordinary relief as though, at last, she'd discovered what it was that could create a balance between the quiet, rather vacant progression of the days she spent in this house, and those portents that lit up the dark at the edge of her own existence." How fortunate and rare to discover such a perfect articulation of the human condition. --Melanie Rehak

Despite Otto's protests, Sophie puts out a dish for a stray that roams the Bentwoods' neighborhood--an area which is also home to enormous poverty, and in which they, in their renovated townhouse, sit like distant royalty. The cat sinks its teeth into her hand and instantly we are plunged into the heart of what plagues every aspect of this couple's lives: the threat of rabies. Where the cat is concerned, it's literal rabies, but the book is also steeped in the sense that a kind of social rabies lurks just outside the Bentwoods' and indeed the whole world's door. As Sophie suddenly realizes at one point: "Ticking away inside the carapace of ordinary life and its sketchy agreements was anarchy."

Throughout Fox's gorgeously crafted, unflinching portrait of a dying marriage and a country at war with itself, the Bentwoods fight the desire to self-destruct like everything around them. At one point, Otto screams at Sophie: "What in God's name do you want? Do you want Charlie to murder me? Do you wish the farmhouse had been burned down?... Do you want to be rabid?" She doesn't, of course, but in a certain way, that outcome makes sense. "'God, if I am rabid, I am equal to what is outside,' she said out loud, and felt an extraordinary relief as though, at last, she'd discovered what it was that could create a balance between the quiet, rather vacant progression of the days she spent in this house, and those portents that lit up the dark at the edge of her own existence." How fortunate and rare to discover such a perfect articulation of the human condition. --Melanie Rehak

Despite Otto's protests, Sophie puts out a dish for a stray that roams the Bentwoods' neighborhood--an area which is also home to enormous poverty, and in which they, in their renovated townhouse, sit like distant royalty. The cat sinks its teeth into her hand and instantly we are plunged into the heart of what plagues every aspect of this couple's lives: the threat of rabies. Where the cat is concerned, it's literal rabies, but the book is also steeped in the sense that a kind of social rabies lurks just outside the Bentwoods' and indeed the whole world's door. As Sophie suddenly realizes at one point: "Ticking away inside the carapace of ordinary life and its sketchy agreements was anarchy."

Throughout Fox's gorgeously crafted, unflinching portrait of a dying marriage and a country at war with itself, the Bentwoods fight the desire to self-destruct like everything around them. At one point, Otto screams at Sophie: "What in God's name do you want? Do you want Charlie to murder me? Do you wish the farmhouse had been burned down?... Do you want to be rabid?" She doesn't, of course, but in a certain way, that outcome makes sense. "'God, if I am rabid, I am equal to what is outside,' she said out loud, and felt an extraordinary relief as though, at last, she'd discovered what it was that could create a balance between the quiet, rather vacant progression of the days she spent in this house, and those portents that lit up the dark at the edge of her own existence." How fortunate and rare to discover such a perfect articulation of the human condition. --Melanie Rehak

Despite Otto's protests, Sophie puts out a dish for a stray that roams the Bentwoods' neighborhood--an area which is also home to enormous poverty, and in which they, in their renovated townhouse, sit like distant royalty. The cat sinks its teeth into her hand and instantly we are plunged into the heart of what plagues every aspect of this couple's lives: the threat of rabies. Where the cat is concerned, it's literal rabies, but the book is also steeped in the sense that a kind of social rabies lurks just outside the Bentwoods' and indeed the whole world's door. As Sophie suddenly realizes at one point: "Ticking away inside the carapace of ordinary life and its sketchy agreements was anarchy."

Throughout Fox's gorgeously crafted, unflinching portrait of a dying marriage and a country at war with itself, the Bentwoods fight the desire to self-destruct like everything around them. At one point, Otto screams at Sophie: "What in God's name do you want? Do you want Charlie to murder me? Do you wish the farmhouse had been burned down?... Do you want to be rabid?" She doesn't, of course, but in a certain way, that outcome makes sense. "'God, if I am rabid, I am equal to what is outside,' she said out loud, and felt an extraordinary relief as though, at last, she'd discovered what it was that could create a balance between the quiet, rather vacant progression of the days she spent in this house, and those portents that lit up the dark at the edge of her own existence." How fortunate and rare to discover such a perfect articulation of the human condition. --Melanie Rehak