Euphoria, by Lily King
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Euphoria, by Lily King
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A New York Times BestsellerWinner of the 2014 Kirkus PrizeWinner of the 2014 New England Book Award for FictionA Finalist for the National Book Critics Circle AwardA Best Book of the Year for:New York Times Book Review, Time, NPR, Washington Post, Entertainment Weekly, Newsday, Vogue, New York Magazine, Seattle Times, San Francisco Chronicle, Wall Street Journal, Boston Globe, The Guardian, Kirkus Reviews, Amazon, Publishers Weekly, Our Man in Boston, Oprah.com, SalonEuphoria is Lily King’s nationally bestselling breakout novel of three young, gifted anthropologists of the ‘30’s caught in a passionate love triangle that threatens their bonds, their careers, and, ultimately, their lives. Inspired by events in the life of revolutionary anthropologist Margaret Mead, Euphoria is "dazzling ... suspenseful ... brilliant...an exhilarating novel.”—Boston Globe
Euphoria, by Lily King- Amazon Sales Rank: #3145 in eBooks
- Published on: 2014-06-03
- Released on: 2014-06-03
- Format: Kindle eBook
Amazon.com Review
An Amazon Best Book of the Month, June 2014: If I tell you that Euphoria is a novel loosely based on the life of the anthropologist Margaret Mead, your eyes will start to glaze over. Well, they shouldn’t--not when the novel is as wonderful as this one. Its both romantic and intelligent, a combination you don’t need to be a scientist to know doesn’t appear often in nature. Mead, a controversial character in real life, is here transmuted into the equally complex (and somewhat sickly) Nell Stone, who has made a reputation for herself by studying native tribes in New Guinea. Her husband, also an anthropologist, is more jealous than dutiful, although he does manage to make her feel inadequate for failing to produce a baby. Enter a charming-but-tortured third anthropologist, who at times seems to be unsure to which of his new friends he’s more attracted. Sparks of the emotional and sexual kind fly, but what’s even more interesting is the portrait of a growing friendship based at least partly on philosophy and attitudes toward “primitive” cultures. You know from the beginning that some bad things are going to happen, but it is to King’s great credit (and the fact that she changes some of the events in Mead’s life) that you can’t really guess what they are. This is the best kind of historical novel--the kind that sent me running to read more about its real-life inspiration. --Sara Nelson
From Booklist Just after a failed suicide attempt, Andrew Bankson, English anthropologist studying the Kiona tribe in the territory of New Guinea, meets a pair of fellow anthropologists fleeing from a cannibalistic tribe down river. Nell Stone is controversial and well respected. Her rough Australian husband, Fen, is envious of her fame and determined to outshine her. Bankson helps them find a new tribe to study, the artistic, female-dominated Tam. Nell’s quiet assurance and love of the work, and Fen’s easy familiarity, pull Bankson back from the brink. But it is the growing fire between him and Nell that they cannot do anything about. Layered on top of that is Nell’s grasp of the nuances of the Tam, which makes it clear that she will once again surpass Fen. Set between the First and Second World Wars, the story is loosely based on events in the life of Margaret Mead. There are fascinating looks into other cultures and how they are studied, and the sacrifices and dangers that go along with it. This is a powerful story, at once gritty, sensuous, and captivating. --Elizabeth Dickie
Review ''In a perfect marriage of words and voice, narrators Simon Vance and Xe Sands join author Lily King to produce an extraordinary audiobook experience. Inspired by events in the life of cultural anthropologist Margaret Mead, King has fashioned a haunting novel of love, ambition, and obsession, focused on three anthropologists off-map in New Guinea just before World War II. Delivering the alternating chapters of Mead's stand-in, American Nell Stone, and Englishman Andrew Bankson, Sands and Vance perform the stupendous feat of creating memorable versions of the same characters. Their performances offer nuanced interpretations of the different personalities and echo, but do not copy, each other's approach. Also, each uses a unique narrative pace that enhances the listener's understanding of this unforgettable tale.'' --AudioFilemagazine''Euphoria is a meticulously researched homage to Mead's restless mind and a considered portrait of Western anthropology in its primitivist heyday. It's also a taut, witty, fiercely intelligent tale of competing egos and desires in a landscape of exotic menace - a love triangle in extremis . . . The steam the book emits is as much intellectual as erotic . . . and King's signal achievement may be to have created satisfying drama out of a quest for interpretive insight . . . Exquisite.'' --New York Times Book Review ''There are some novels that take you by the hand with their lovely prose alone; there are those that pull you in with sensual renderings of time and place and a compelling story; and there are still others that seduce you solely with their subject matter. But it is a rare novel indeed that does all of the above at once and with complete artistic mastery. Yet this is precisely what Lily King has done in her stunningly passionate and gorgeously written Euphoria. It is simply one of the finest novels I've read in years, and it puts Lily King firmly in the top rank of our most accomplished novelists.'' --Andre Dubus III, author of House of Sand and Fog ''With Euphoria, Lily King gives us a searing and absolutely mesmerizing glimpse into 1930's New Guinea, a world as savage and fascinating as Conrad's Heart of Darkness, where obsessions rise to a feverish pitch, and three dangerously entangled anthropologists will never be the same again. Jaw-droppingly, heart-stoppingly beautiful. I loved this book.'' --Paula McLain, New York Times bestselling author ''I have come to expect Lily King's nuanced explorations of the human heart, but in this novel she pulled me in to the exotic world of a woman anthropologist working with undiscovered tribes in 1930s New Guinea and I was totally captivated. Euphoria is a great book! So great, that I stayed up late to finish it.'' --Karl Marlantes, New York Times bestselling author ''King changes the names (and the outcome) in this atmospheric romantic fiction set in New Guinea and clearly based on anthropologist Margaret Mead's relationship with her second and third husbands . . . A small gem, disturbing and haunting.'' --Kirkus Reviews (starred review) ''The love lives and expeditions of controversial anthropologists Margaret Mead, Reo Fortune, and Gregory Bateson are fictionalized and richly reimagined in New England Book Award winner King's meaty and entrancing fourth book . . . While the love triangle sections do turn pages (Innuendo! Jealousy! Betrayal!), King's immersive prose takes center stage. The fascinating descriptions of tribal customs and rituals, paired with snippets of Nell's journals - as well as the characters' insatiable appetites for scientific discovery - all contribute to a thrilling read that, at its end, does indeed feel like 'the briefest, purest euphoria.''' --Publishers Weekly (starred review) ''Set between the First and Second World Wars, the story is loosely based on events in the life of Margaret Mead. There are fascinating looks into other cultures and how they are studied, and the sacrifices and dangers that go along with it. This is a powerful story, at once gritty, sensuous, and captivating.'' --Booklist ''Writers are childlike in their enthusiasm about other writers' good work. They're thinking: How'd they ever think of that? That's amazing/beautifully written/true! Imagine all the effort that went into pulling this off. Could I do something this original/surprising/moving? I'm always happy to read Lily King, and I particularly enjoyed reading Euphoria.'' --Ann Beattie, award-winning author of Chilly Scenes of Winter''Fresh, brilliantly structured, and fully imagined, this novel radically transforms a story we might have known, as outsiders - but now experience, through Lily King's great gifts, as if we'd lived it.'' --Andrea Barrett, National Book Award-winning author ''Lily King delves into the intellectual flights and passions of three anthropologists - as complex, rivalrous, and brutal as any of the cultures they study. Euphoria is a brilliantly written book.'' --Alice Greenway, Los Angeles Times Award-winning author ''Adventure and romance, danger and knowledge, desire and desolation: these are a few of my favorite things. And, exquisitely braided, they form the core of Euphoria. Set in the 1930s, in a New Guinea that Margaret Mead and Gregory Bateson would recognize with delight and trepidation, this passionate and thrilling new novel reminds us that all our mores are fictions, that culture itself is only a story we tell ourselves. And what a harrowing tale Lily King weaves from these threads. I'm left breathless, excited, ready to wander and explore, a little afraid, enamored, enlightened.'' --Bill Roorbach, author of Life among Giants ''Inspired by an event in the life of Margaret Mead, this novel tells the story of three young anthropologists in 1930s New Guinea . . . This three-way relationship is complex and involving, but even more fascinating is the depiction of three anthropologists with three entirely diverse ways of studying another culture.'' --Library Journal (starred review)
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219 of 230 people found the following review helpful. Human Beings in the Mirror By Roger Brunyate Although the jacket will tell you that this book is inspired by the story of real people, leave that aside while you are reading. For King's novel is enthralling in its own terms, both about the early days of anthropological study in the 1930s, and as a hot-blooded tale about inspiration, rivalry, and desire. The setting in New Guinea. Australian ethnographer Schyler Fenwick and his wife Nell Stone have just come downriver after an unproductive stay with a tribe known as the Mumbanyo. At least it was unproductive for her; Fen, as he is called, would have liked to stay, but Nell is the decision-maker of the two, having just published a best-seller that has eclipsed her husband's dry academic monograph. They run into an English anthropologist called Andrew Bankson, the book's main narrator. He is lonely after spending two years with a tribe on the Sepik River, and urges Nell and Fen to transfer their study to another tribe a few hours away from him by boat, known as the Tam.Although he tries to keep his distance, it is clear that Andrew has fallen for Nell, and she finds she can have conversations with him that she cannot with her husband. But the triangle of desire does not play out as simply as that. The Tam (and Andrew's tribe, the Kiona) appear to have different customs from most of their neighbors, with some striking reversals of the normal gender roles. Separately and together, the three scientists make important discoveries, including the sketch of a quasi-Cartesian classification system that could lead to a Unified Theory of Anthropology. But they are also aware of the biases brought by their own personalities; Andrew wonders at one point whether an anthropologist's field report says more about the people being studied or the author doing the writing. Almost everything they see around them reflects on the differences and affinities between them, not only sexually but intellectually too.There is a passage later in the book when Andrew and Nell are typing up field notes side by side. He is factual, analytical: "In light of this conversation with Chanta, and the proximity of his native Pinlau to the Kiona, one concludes that there were other tribes in the vicinity who also practiced some sort of transvestite ritual." Nell, however, pours out impressions in an unpunctuated stream of consciousness: "Tavi sits still her eyes drooping nearly asleep body swaying and Mudama carefully pinching the lice flicking the bugs in the fire the zinging of her fingernails through the strands of hair, concentration tenderness love peace pieta." She says that if she can remember the FEELING of the afternoon, then she can recall all the details she didn't think important enough to write down. It is how a writer works, too -- at least a writer like Lily King. The accuracy of her imaginative recall is palpable throughout the entire novel, which convinced me easily as much as similar situations in Ann Patchett's STATE OF WONDER or Hanya Yanagihara's THE PEOPLE IN THE TREES.Early in the novel, Nell talks about a moment about two months into any study, "when you think you've finally got a handle on the place [...], the briefest, purest euphoria." Lily King's greatest achievement here is to suspend almost her entire novel in that period of excited wonder. It makes for thrilling reading.======If you just want to read the novel as fiction, stop reading this now and go for it. Otherwise....The back cover says the book was "inspired by events in the life of revolutionary anthropologist Margaret Mead." I would say more than inspired by; virtually all the back-story is taken from real life, with only the names changed. Nell Stone, of course, is Mead, and Nell's best-seller is a thinly-disguised version of the latter's COMING OF AGE IN SAMOA. Schyler Fenwick is Reo Fortune, Mead's second husband; although changed from a New Zealander to an Australian, his contributions to cultural anthropology are virtually identical to those of his fictional counterpart. Andrew Bankson is the fictional name of English Anthropologist Gregory Bateson, who played an even larger role in Mead's life than Andrew does here; the details of Bankson's early life, including his Cambridge upbringing, difficult relationship with his father, and the deaths of his two brothers, might come word for word from a biography of Bateson. The older anthropologist Ruth Benedict, who plays a significant background role, is actually a real person, and her lesbian affair with Margaret/Nell is also probably true.But if you know such facts, or are tempted to look them up, do not imagine that King's novel will necessarily follow the paths taken by these figures in real life. It seems that King set herself a double goal: to stay as true to history as possible in all the back-story, but in the time-frame of the novel itself to be guided only by the psychology of the three individuals. She describes what might have happened, not what actually did. But so acute are her powers of empathy that her fiction has all the compulsive reality of truth.
97 of 100 people found the following review helpful. "It's the briefest, purest euphoria." By Genevieve D. No, "Euphoria" isn't a new perfume by Calvin Klein but the name Nell Stone, gives to that ecstatic feeling of discovery: "It's that moment," she rhapsodizes to fellow anthropologist, Andrew Bankson, "about two months in, when you think you've finally got a handle on the place. Suddenly it feels within your grasp. It's a delusion—you've only been there eight weeks—and it's followed by the complete despair of ever understanding anything. But at that moment the place feels entirely yours. It's the briefest, purest euphoria."Euphoria by Lily King is a historical novel set in 1930s that tracks the aftermath of a chance meeting between three anthropologists: Nell Stone, an American; her Aussie husband Schuyler Fenwick (Fen); and Andrew Bankson, a Brit. The three are studying various tribes who live along the riverbanks of the Sepik River in Papua New Guinea. When the anthropologists first come together at a Christmas party at a local government station, all three of them seem to be at the lowest points in their lives. After just a few months embedded with the Mumbanyo tribe, Nell and Fen have decided to pull up stakes and head back to New York and regroup. They seem to fear for their lives as they beat their hasty retreat on a canoe. A specter of violence hangs in the air. Their actual transgressions or fears aren't clear but what is obvious is that they are demoralized by their failure. Meanwhile, Andrew has just been rescued from the river after a botched suicide attempt (rocks in his coat pocket a la Virginia Woolf). He is depressed and lonely, haunted by the memories of his brothers who died in the Great War, and by the disappointment of his mother, who disparages his work and hardly considers anthropology a science or worthy of study.From the get-go, while there is no direct acknowledgment of marital abuse in Nell and Fen's marriage, it is strongly hinted at: Nell's broken glasses, her broken ankle and bedraggled state; the carelessness and callousness of their lovemaking in one early scene; Fen's physical abuse of one local, and his sarcasm and jealous sniping. There is a strong vein of rancor in their marriage. Nell's success from her best-selling ethnography “The Children of Kirakira" eats at Fen's delicate ego, and more so since they depend financially on her celebrity, while he still struggles to make a name for himself. Over the course of the novel, we also learn of other reasons for Fen's bitterness. Nell wanted to abandon the study of the Mumbanyo, while Fen wanted to stay longer, in particular to find and recover a carved flute that he believes will propel him to scientific fame. The undercurrent of discontent in that relationship is so faint and yet penetrating, like an odor you're not quite sure of, and this escalating emotional tension is a testament to King's writerly talents.Enthralled by the couple and especially by Nell, Andrew manages to convince the two to stay, suggesting another tribe for them to study. He finds them the Tam tribe on a site just a few hours from his own work on the Kionas. Over the next few weeks, the three develop a robust friendship that is rooted in an appreciation in each other's intellectual strengths. Professionally, the three are very different in their approaches to ethnographic research. Andrew is the consummate scholar, reserved and careful. He approaches anthropological observation with the deliberateness of a scientist working in a laboratory. Fen is the opposite, a daredevil, trying everything. He partakes in hallucinatory agents with gusto. He enthusiastically dons penis gourds and dances with abandon among the tribesmen. Nothing shocks him, he tells Andrew, not the cannibalism, raids, or mutilation they see. Nell also shares her husband's empathy but it comes in a different form—it is propelled by deep empathy and warmth. In a journal entry, she writes: "I can feel the relationships, the likes & dislikes in the room in a way I never could if I could speak. You don't realize how language actually interferes with communication until you don't have it, how it gets in the way like an overdominant sense." When Andrew insists that the inhabitants might not have a capacity for self-reflection and reflexive analysis, Nell fights him. "The are human, with fully functioning human minds," she insists. "If I didn't believe they shared my humanity entirely, I wouldn't be here."Each researcher's differences are starkly reflected in the way they take notes. Fen never takes notes; a telling marker of his hubris. Nell writes constantly and with great dramatic flair. For example: "Tavi sits still her eyes drooping nearly asleep body swaying and Mudama carefully pinching the lice flicking the bugs in the fire the zinging of her fingernails through the strands of hair concentration tenderness love peace pieta." Andrew's notes look like this: "In light of this conversation with Chanta, and the proximity of his native Pinlau to the Kiona, one concludes that there were other tribes in the vicinity who also once practiced some sort of transvestite ritual." Nell's notes read like a novel, a story that transports and reminds the reader of the immediacy of a distinct moment; Andrew's notes read like a report. It's in that moment, I think, that Nell and Andrew realize consciously that they love each other.By the last fifty or so pages, the story picks up with brute force, and the love triangle explodes, leading to another hasty retreat from the riverbanks, and a series of savage acts and cruelties that made me sit up fast and almost drop the book. *SPOILER AHEAD: This is a story that doesn't end well for our trio. None of the three get what they want: knowledge (Nell), fame (Fen), love (Andrew). What King seems to be showing is how gratification for any of these is an illusion—much like the spurious euphoria mentioned by Nell. *With a deft hand, King gives us a beautiful story about love and desire. Set as it is in the early days of modern anthropology, Euphoria is an unusual stage for a story, and it is ripe with drama, apprehension, and emotional discovery. The novel is refreshing in that the love story, as central as it is, doesn't veer into staged opera or flights of melodrama. It felt raw, primordial; it felt real. In fact, the last scene of the book is one of the most tender, intimate recollections of lost love I've ever read. There is a meta-ness to the reading experience, too. Just as the characters are studying this alien tribal life and culture, we are studying Nell, Fen, and Andrew, with King feeding us clues that illuminate all their simmering resentments, stoic traumas, and stifled desires. This interpretative engagement is what makes this slim novel such a powerful read.
69 of 74 people found the following review helpful. 3.5 stars By E. Smiley I inhaled this book in the space of less than 24 hours: fast reading for me even though it's only 257 pages. Set in remote Papau New Guinea in the 1930s, this is a fictionalized account of the brief collaboration of three real-life anthropologists: Margaret Mead, her then-husband Reo Fortune, and her future husband Gregory Bateson. Here they are renamed Nell Stone, Schuyler Fenwick and Andrew Bankson, respectively.It is a fascinating tale of human relationships and anthropology; unusually for fiction, the author makes the characters' work a major aspect of the book rather than a background detail or subplot, and questions about anthropology are front and center: How involved ought scientists become in the lives of their subjects? Can anthropologists truly be objective, or do they project their own desires or prejudices onto the societies they study? What methods are acceptable for gaining information about a culture? By necessity, the three protagonists are intensely involved in their work, and one of the book's most animated scenes involves Nell's receiving a colleague's manuscript (a fictional analogue of Ruth Benedict's Patterns of Culture) in the mail, and the three spending all night reading and arguing about it. (That doesn't mean the novel is dry, but that the author does an excellent job of showing the power of ideas and intellectual growth.)But it soon becomes clear that the three approach their field from very different perspectives. Nell, already famous for a ground-breaking book based on a prior expedition, wants to fall in love with local cultures and erects no boundaries between herself and the people she studies. Fen seems drawn to fieldwork primarily to escape strictures of "civilized" behavior, and to be the most important man in town. Bankson, drawn to anthropology as an intellectual pursuit, holds himself aloof from the locals and doesn't seem to enjoy fieldwork at all. Of course attraction grows between Nell and Bankson, with dramatic consequences.Euphoria has an engaging plot, and the three protagonists are complex and believable folk, set against a colorful backdrop. The local tribespeople remain in the background, though they do have more individuality, and more of a voice, than their counterparts in similar books such as Patchett's State of Wonder. It helps that the anthropologists are quick to learn local languages and spend substantial time interacting with people and trying to understand them. The writing is good, though the point-of-view is unnecessarily jumpy; the majority of the book is told from Bankson's first-person perspective, but it also includes third-person sections following Nell and excerpts from her journal.Beneath the surface, though, this is a dark story, in ways that aren't ever really dealt with. Fen turns out to be a very ugly person, but his crimes are generally mentioned briefly and ambiguously rather than openly; those not paying close attention could easily miss most of it. I understand the value of subtlety in fiction, but such coyness feels out of place in a novel with an explicit and not entirely consensual sex scene on page 11. And it's especially disconcerting when Fen is based on a real person; the author should have owned her claims one way or the other, at least by explaining in her Author's Note either their basis in the historical record, or that she invented them for storytelling purposes. Otherwise, it just looks like defaming the dead. I am also uncomfortable with her making Nell a victim in ways Margaret Mead was not. Is King pandering to the crowd inclined to find any successful female character "unlikeable" unless her vulnerability is constantly emphasized? It's hard to imagine anyone disliking the big-hearted, enthusiastic Nell, though at least in the book she is not much for monogamy and again, we don't know to what extent her personality was invented for the novel.So, an enjoyable book, yes, but don't take it for history. I liked it, but in addition to displaying the strong storytelling skills that King has in abundance, I do expect historical fiction authors to take responsibility for their deviations from the record, and am disappointed that that was not done here.
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