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Set against a backdrop of Rome, Renaissance artworks, and images of Mary Magdalene, Trompe l'Oeil portrays the ripple effects of a family tragedy and the ways in which its members perceive and misperceive themselves and each other.
During a vacation in Rome, the Murphy family experiences a life-altering tragedy. In the immediate aftermath, James, Nora, and their children find solace in their Massachusetts coast home, but as the years pass the weight of the loss disintegrates the increasingly fragile marriage and leaves its mark on each family member. Trompe l’Oeil seamlessly alternates among several characters’ points of view, capturing the details of their daily lives as well as their longing for connection and fear of abandonment. Through the turbulence of marriage, the challenges of parenthood, job upheavals, and calamities large and small, Trompe l’Oeil examines family legacies, the ways those legacies persist, and the ways they might be transcended. Nancy Reisman is a master of psychological acuity, creating characters who are wholly unique and yet express our own longings and anxieties. Trompe l’Oeil haunts not only with its story but also with the beauty of its insight into hopes, desires, and fears.- Sales Rank: #865432 in Books
- Published on: 2015-05-12
- Original language: English
- Number of items: 1
- Dimensions: 7.80" h x 1.00" w x 5.10" l, .0 pounds
- Binding: Paperback
- 352 pages
Review
“Genuinely satisfying, heart-shaking novels combine an absolute narrative authority with an apparently effortless style. You question nothing, savor every phrase and nuance, live willingly within their pages from the first word to the last.... 'Trompe L'Oeil' is one such book... There's a bright elasticity to Reisman's prose that only adds to [the] sense of possibility.... Rendered here, you feel, in startling and almost painterly form is life itself ... This novel doesn't just 'trompe' the 'oeil,' it reinvents it.” (New York Times Book Review)
“[W]ith shades of The Ice Storm and Revolutionary Road, Reisman offers a poignant portrait of a family undergoing a gradual, permanent transformation.” (Publishers Weekly)
“An eloquent exploration, from several perspectives, of one family’s life following unimaginable loss.” (Booklist)
“A realistic and gorgeously written story...” (Library Journal)
“In Trompe l'Oeil Nancy Reisman has created something amazing and mysterious: a portrait of a family that is also a portrait of how that family lives in the aftermath of grief. With wonderful skill and intelligence she shows us the Murphys over more than two decades as both parents and children finally step into their own lives. Their journey, the portraits of their journey, are deepened by Reisman's vivid sense of place and framed by her exquisite descriptions of paintings. This is a beautiful and deeply satisfying novel.” (Margot Livesey, author of The Flight of Gemma Hardy)
“Nancy Reisman's mesmerizing Trompe l'Oeil is itself a magic trick. A dead child resists all erasure, while the most substantial-seeming family dissolves. Houses vanish when one's back is turned. Carefully charting the contours of absence, in prose as wise as it is beautiful, Reisman shows us that loss is a presence, another way to trick the eye ― and the heart.” (Susan Choi, author of My Education)
“What I have always admired about Nancy Reisman's writing is how absolutely gorgeous it is, and in Trompe l'Oeil her writing astonishes me even more. She writes about the weight of loss with beauty and honesty and grace. Simply a beautiful novel.”―” (Ann Hood, author of An Italian Wife)
“Trompe l'Oeil is perfect for book clubs because it offers so much fodder for discussion: How do we define 'fault'? When does a house change from being a home to being a trap? Is it inevitable that children born after the death of a sibling will be considered mere replacements for the one lost? Nancy Reisman, in this gentle, tragic novel, makes the reader feel as one with the Murphy family―living, grieving, falling apart―their trajectory inevitable. Or is it?” (Georgia Court, Bookstore 1 Sarasota)
About the Author
Nancy Reisman's debut novel, The First Desire, was a New York Times Notable Book and a recipient of the Goldberg Award from the Foundation for Jewish Culture. Her story collection, House Fires, won the Iowa Award for Short Fiction. Her short fiction has appeared in many journals and anthologies, including Tin House, Glimmer Train, the Yale Review, SubTropics, Michigan Quarterly Review, Kenyon Review, Five Points, Narrative, The Best American Short Stories (2001), and The O'Henry Award Stories (2005). Reisman has received fellowships and awards from the National Endowment for the Arts, the Tennessee Commission on the Arts, the Wisconsin Institute for Creative Writing, and the Fine Arts Work Center in Provincetown. She teaches at Vanderbilt University and lives in Nashville, TN.
Most helpful customer reviews
7 of 7 people found the following review helpful.
Potentially moving story is not so.
By Teresa Salkin
Reisman is a clean, precise writer who kept me turning the page in the hope that her characters, who I got to know well, would grow in depth and self knowledge; never happened. This story skated on top of the ice of life the whole way through - very disappointing for such well articulated and described individuals and situations.
9 of 10 people found the following review helpful.
A intriguing story, "told" by the author, not the characters.
By Amazon Customer
I read the glowing review in the Sunday New York Times Book Review June 28th, 2015. I liked the title.wanted to get involved in the lives of these characters, in the family, what happens to them, the story. I looked forward to finding myself pulled inside the the characters' lives through the point of view of the protagonist(s). . Alas, Nancy Reisman "tells" the story herself. I'd have loved if one of the main character's voice "showed" me the story through her or his eyes, his or her senses, feelings, thoughts, dialog, . I thought that the publisher, Tin House ,would have published a more intimate writing style rather than keeping me, the reader, at a distance with dated omniscient point of view. The writing is lovely "telling." The story is there, but didn't take me on the promised journey. I put the book down and walked away, disappointed.
8 of 9 people found the following review helpful.
Exquisite. Life as a series of transitions, an illusion that never stands still
By B. Case
Trompe L’Oeil (i.e., Optical Illusion), by Nancy Reisman, is an exquisite emotional and literary portrait of a family. The plot follows the lives of the Murphy family over the course of approximately thirty-five years. There’s James, the father; Nora, the mother; Theo, the oldest child and only son; Katy, the second child; Molly, the child who was killed in a pedestrian accident when she was four years old; and eventually, Sara and Dalia, two daughters born in quick succession after Molly’s death. The Murphys are an affluent, educated, and artistic New England family with ties to Boston, Cambridge, Wellesley, and Cape Cod. By all intents and purposes, they’re an ordinary privileged family made unique by having been forced to weather the extraordinary crisis of a child’s death.
At the beginning of the book, seemingly at the peak of the family’s happiness and vigor, Molly is tragically run over and killed by a truck while dashing across a street in Rome during a family vacation. She was only four years old. In an instant, the illusion of the family’s perfect life and expected future vanishes. Can one event change everything? Can one tragic event propel every individual in the family—both existing and not yet born—on to another trajectory? Can it keep affecting each life repeatedly and endlessly into the future?
If you read this elegant and sublime novel, you’ll come away answering, “Why, yes, of course!” The novel will help you understand and experience all the subtle ways that this can be true.
If there is a purpose or theme to this novel, it seems to be a demonstration that we are all in a state of perpetual transition; that life is an illusion that never stands still; that the “world as one knows it is only the world of a moment.”
This novel is told in the past tense by an anonymous narrator. At first, I thought the narrator was the author and that I would be reading a typical third-person omniscient narration. But that didn’t happen. And I was confused. And to add to the confusion, the author keep interjecting random strange chapters into the novel, each focusing on a very detailed physical and emotional description of different famous works of art. These short art chapters (there are 13 of them in a novel with a total of 76 chapters)—see the list of the art works at the end of this review—were narrated in the second person, i.e., using “you” as the voice. They exist, perhaps as a literary device, to pull the reader intimately into the novel, to make us believe that we are the ones doing the observing of each artwork…and then, by projection, that we are the fly-on-the-wall voyeurs, intimately peeking in on the lives of the Murphy family.
The primary narrator is never conclusively revealed. It could be the author or one of the characters in the novel. If so, it is no doubt Nora, because she emerges as the book’s main character and is the one most interested in art. Regardless, the narrator is human, not God-like. The narrator infers all human thought and emotions. The narrator is a keen analytical observer of life, nothing more. In some ways, the narrator is like a person in an art gallery. The narrator studies each scene in the lives of this family just like a visitor to an art gallery might stand in front of a painting and study it carefully, trying to infer all knowledge that can be inferred from the slightest clue.
This is an emotionally rich and meditative novel. The imagery is as precise and expressive as any of the famous works of art described in the thirteen art chapters. A great deal of care was taken in choosing exactly how each scene is described. Every word has purpose and weight.
This is an exquisite novel of subtle beauty and abundant depth. If it were a reading assignment in an advanced contemporary American literature seminar, I could think of any number of major concepts contained within it that easily could lend themselves to academic analysis.
As promised, here is a list of the famous works of art that are described in detail within this book. I suggest that you do an Internet image search on each work and have it in front of you, to study, while you read each of these chapters. Doing this will significantly increase your reading pleasure. It will also help pull you inside the story, inside the lives of these characters, so you become that analytical and empathetic “fly-on-the-wall voyeur” that the author want you to become. If there is any connection between these works of art and the story within the novel, it is that the main character, Nora, keeps a beloved shoebox full of museum gallery postcards of famous works of art just like these. She takes the box out and studies her art treasure photos whenever she needs quiet time by herself to recharge her emotional strength.
• Rome: Prospettiva, Franscesco Borromini (c. 1652-53), Palazzo Spada
• Rome: Maddalena Penitente, Domenico Fetti (early 17th century), Galleria Doria Pamphilj
• Rome: La Maddalena, Michelangelo Merisi da Caravaggio (1594-95), Galleria Doria Pamphilj
• Rome: The Ecstasy of Saint Teresa, Gian Lorenzo Bernini (c. 1647-52), Chiesa Di Santa Maria Della Vittoria
• Rome: Annunciazione, Fra Filippo Lippi (15th century), Galleria Doria Pamphilj
• Reproduction: The Magdalen Reading, Rogier van der Weyden (before 1438), National Gallery, London
• Rome: Pauline Bonaparte, Antonio Canova (early 19th century), Galleria Borghese
• Reproduction: Interior: Woman before a Window, Edouard Vuillard (c 1900), From a private collection
• Reproduction: Magdalena Poenitens (Penitent Magdalen), Joannes and Lucas van Doetecum after Pieter Brugel the Elder (1555-56), Etching with engraving
• Reproduction: Magdalen Reading, Follower of Piero de Cosimo (1500-20), Courtauld Gallery, London
• Rome: Apollo and Daphne, Gian Lorenzo Bernini (c. 1622-25), Galleria Borghese
• Reproduction: Interior with Pink Wallpaper I, plate five, Edouard Vuillard (1899), Art Institute of Chicago
• Rome: La Dama con Liocorno, Raffaello Sanzio da Urbino (1506), Galleria Borghese
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