thecruelmistress

Thecruelmistress

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Thecruelmistress

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Thecruelmistress

As an object, Hausfrau is unprepossessing. It eschews visual hallmarks of literary seriousness, by which I mostly mean, it looks girly. The dust jacket invites one to wrinkle her nose at its ingratiating spray of pink and purple roses floating atop a metallic plane, which, combined with the title, suggest the novel might be slumming it in the genre ghetto known as Female Complaint. And at a measly ish pages, it lacks the heft of, say, the Victorians, whose prolixity goes some way with a species of modern reader toward atoning for their trivial concerns. But as a work of literature, Hausfrau , the first novel by Jill Alexander Essbaum, fits neatly into no category. Our protagonist, an American expatriate named Anna Benz, lives in a picture-book suburb of Zurich with her frosty Swiss banker husband and their three children. She does not work but seems, rather, to make a full-time occupation of sleeping with men she is not married to and for whom she harbors no special affection. What has this upper-class, suburban, white lady got to be so bent out of shape over? But Essbaum has not written an instruction in the moral dangers of adultery, or the narcissistic impulse from which it springs. Anna just wants to feel better.

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