People cross boundaries in Alan Hollinghurst’s “The Spell” and Penelope Lively’s “The Photograph.”
Dear readers,
“My sister. My daughter. … She’s my sister and my daughter!” If you’ve ever seen Roman Polanski’s sun-bleached neo-noir “Chinatown,” which turns 50 this year, you can’t forget it: a defiant, tear-stained Faye Dunaway wailing the sordid secret of her troubled-heiress character’s life while Jack Nicholson’s flinty detective Jake Gittes slaps her halfway to next Saturday.
I thought of that scene again recently after reading a much-passed-around piece in The Atlantic about the surprising prevalence of incest that has been exposed by test results from popular ancestry sites like 23AndMe. And I felt smugly justified in never getting around to swabbing myself with one of the two DNA kits, still languishing somewhere at home in a junk drawer, that I’d received as thoughtful but vaguely terrifying gifts. Better, perhaps, to never know that you are 6.7 percent Slavic highlander, and also that your great-uncle is actually your grandpa.
The two books in this week’s column are not about that sort of flowers-in-the-attic depravity (or even the highbrow provocation of literary fire-starters like Kathryn Harrison’s fevered 1997 memoir “The Kiss”). But they do cast a sometimes-discomfiting eye on blood ties: tales of romance and longing that transgress most good people’s idea of familial propriety, and sometimes cross much starker lines. Should you feel like a creep reading these on the subway? Forget it, Jake; it’s fiction.
—Leah
“The Spell,” by Alan Hollinghurst
Fiction, 1998
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Source: Elections - nytimes.com