In a compelling new wave of literature, authors are delving deep into the intricate and often misunderstood territory of midlife crises, presenting them as unique and profound experiences. Miranda July's novel, "All Fours," stands out as a pivotal work in this exploration. Released by Faber on March 27, the narrative begins with a seemingly ordinary event: Michael drops off his wife in their old Volvo station wagon and continues driving. This moment sets off a surreal journey that challenges the traditional perceptions of midlife crises.
Miranda July's "All Fours" has attracted significant attention for its bold and fresh take on midlife turmoil. The novel proposes that these crises are not mere clichés marked by flashy cars and impulsive decisions, but rather deeply personal experiences that can be thought-provoking and transformative. July herself reflects on this notion, suggesting,
"maybe midlife crises were just poorly marketed, maybe each one was profound and unique and it was only a few silly men in red convertibles who gave them a bad name."
The book features imaginative scenes, including epic depictions of female masturbation, which serve to underscore the novel's exploration of self-discovery and identity beyond societal norms.
"All Fours" draws comparisons to notable works like Philip Roth's "Portnoy's Complaint" and Taffy Brodesser-Akner's "Fleishman Is in Trouble." Like these novels, July's work presents a surreal exploration of personal crises, crafting a narrative that is both humorous and deeply introspective. The story creates a sense of moral weightlessness that frees the protagonist from the conventional ties of husband and child, allowing her to reimagine her life anew. As July poignantly puts it,
"One day I really would leave this house, these people, this city, and live a completely different life."
The release of "All Fours" coincides with another novel from Faber, "The Rest of Our Lives" by Ben Markovits. Both novels hit the shelves on March 27, marking a significant date for readers interested in narratives exploring midlife reevaluations.
Adding to this literary landscape are Claire Lombardo's "Same As It Ever Was" and Catherine Newman's "Sandwich," both of which extend the scope of midlife reflections into women's experiences in their mid-50s. In "Sandwich," Newman's storytelling is framed as recurring visits to a rented house in Cape Cod, illustrating how personal growth continues well beyond the traditionally defined midlife years.
Catherine Newman captures the complex emotions of this life stage through her character Rocky, who muses,
"Life is a seesaw…and I am standing dead centre, still and balanced: living kids on one side, living parents on the other…Don't move a muscle, I think. But I will, of course. You have to."
This quote encapsulates the delicate balance individuals strive to maintain as they navigate the demands of family life and personal aspirations.
David Nicholls' novel "You Are Here" offers another perspective on midlife crises, emphasizing that these periods of upheaval can stem not only from family pressures but also from their absence. The narrative serves as a reminder that the longing for something more or different can surface at any point in life, highlighting the universal nature of such introspection.
The term "midlife crisis" itself was coined by Canadian psychoanalyst Elliott Jaques in 1965, originally considering individuals in their middle 30s. Jaques' concept has since evolved to encompass a broader age range and richer understanding. His observation,
"Because the route forward has become a cul-de-sac, attention begins its Proustian process of turning to the past, working it over consciously in the present, and weaving it into the concretely limited future."
This sentiment resonates with the themes explored in these contemporary novels, as characters grapple with past choices and future possibilities.