Perfect, Spare, Disturbing
Margot Livesy, in HOMEWORK:A NOVEL, has placed every word, every scene, every interaction between any members of the triangle of central protagonists
—father, daughter, future step-mother—
all “secondary” characters being so insubstantial as to hardly be characters at all—as near to perfectly as can be imagined.
The literary structure Livesy creates is the triumph of “a spare,” and thus concentrated and lucid, literary lego creation from a mind capable of a searing creative focus. The fulcrum character in HOMEWORK, pre-teen Jenny, has exactly Livesy’s kind of genius. Jenny has her driving, primitive desire for full possession of at least one of her biological parents as her driving focus.
This eery young girl, ten year-old Jenny, is inhabited by a dark need balanced by a dark skill. As such, Jenny puts her series of interlocking manipulations into play and position as if creating an inescapable sequence of snap-on blocks.
Move by more skillful move, Jenny not only intimidates but possesses her father’s fiancée with the certain terror of Jenny’s power over her. Jenny also finally possesses her father easily and entirely.
When Jenny rescues her future stepmother’s heirloom jewelry from the fire in their home, which Jenny has herself started, although we’re sure Jenny knows she owns her father, we’re unclear whether she wants to drive this interloping woman away, as it seemed to us before, or worse, to keep her for her own use, intending to bat her around like an almost-dead mouse.
Henry James, author of the novella “The Turn of the Screw,” is smiling down on Margot Livesy from Writer Heaven.