Cover image for The king in the tree : three novellas
The king in the tree : three novellas
Millhauser, Steven.
Personal Author:
First edition.
Publication Information:
New York : Alfred A. Knopf, 2003.
Physical Description:
241 pages ; 23 cm
Revenge -- An adventure of Don Juan -- The king in the tree.
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From the author ofEdwin Mullhouseand the Pulitzer Prize--winningMartin Dressler: three dazzling novellas about the many shapes of love. "Revenge" is a tour de force about erotic love and betrayal, told through the voice of a woman showing her home to a stranger with a disturbing secret. As the once-happy wife moves from living room to bedroom, she insinuates herself into her guest's (and the reader's) mind--and we witness the gradual unfolding of a carefully meditated scheme of revenge. "An Adventure of Don Juan" and the title novella transform classic fables into immediate, wholly original tales of romance. The first puts the famous lover on a country estate in England, where he attempts to perpetrate a brilliant seduction only to discover something surprising about the human heart. In the mesmerizing "The King in the Tree," Millhauser explores devotion and denial, casting the tragedy of Tristan and Ysolt as an engrossing tale of a king's infatuation with his beautiful wife--and the agony of her betrayal with his own nephew. Full of passion, trysting, and fatal pleasures, these three brilliant novellas are rich with the many gifts of our most persistently imaginative romancer.

Reviews 3

Booklist Review

Winning the Pulitzer Prize for his novel Martin Dressler (1996) called rightful attention to Millhauser's considerable talent. His latest book, a triptych of novellas, further confirms what we have come to understand about him: his brilliance in using language and his creativity in technique and subject matter. "Don Juan had always known exactly what he wanted from life, and it exhausted him to recognize that he no longer knew." That is the premise of the novella "An Adventure of Don Juan," which features, obviously, the legendary eighteenth-century figure whose name is synonymous with lothario. Millhauser spotlights the time when he comes north from Venice to England, to turn over a new leaf, to abandon his licentious ways, and--heavens above!--find a wife. Sex is easy, but love remains a different and difficult proposition. Such is the lesson Don Juan must face, and it is also the lesson of the novella "Revenge." In it, Millhauser casts an intelligent eye on the undeniable intersection of sex and violence by way of an interior monologue delivered by a middle-aged woman, recently widowed, who is showing someone her up-for-sale house. Narrating a stream of remembrance, regret, and psychological regrouping, the widow works her way from room to room, the prospective buyer in silent tow, and it comes as a delicious surprise for the reader to learn the relationship between the seller and possible buyer. In the title novella, Millhauser submits a version of the myth-shrouded tale of Tristan and Ysolt, and his story of love and betrayal at the court of the king of Cornwall is told with both care and understanding of history and legend as well as astuteness in calling attention to the universality of love's complications, whether between common folk or royals. Brad Hooper

Publisher's Weekly Review

There is nothing lighthearted about love, implies Millhauser, author of the Pulitzer Prize-winning Martin Dressler, in these three dark and feverishly rich novellas. While he stops short of cynicism, Millhauser's take on romance is a dark one. An excitable widow leads the reader on a tour of her house-apparently being offered for sale-in the harrowing "Revenge." As she moves from room to room, the story of her husband's extramarital affair unfolds, and it gradually becomes clear that the widow's monologue is addressed to her husband's lover-for whom she has a sinister surprise in store. "An Adventure of Don Juan" finds the famous philanderer, bored with a lifetime of easy conquests, leaving the Continent for a change of scenery on his friend's English estate, where he will experience unrequited desire for the first time. Millhauser retells the tragedy of Tristan and Isolde in the title story. Narrator Thomas of Cornwall, counselor to Isolde's cuckolded husband, King Mark, looks on in silent disapproval as Isolde and Tristan blithely carry on their affair, causing the king to suffer a storm of competing, paralyzing emotions. Millhauser's portrayal of fools and self-made victims is unblinking and unsentimental. He is particularly attuned to the ways that people fall out of love. The narrator of "Revenge" describes the moment when she realized her marriage was in trouble: "I asked myself, am I happy? And I felt a little pause." Millhauser is at his best dramatizing these moments of ambivalent hesitation and the disastrous effect they have on the "fellowships of two." Though he covers time-honored territory, Millhauser's precision, coupled with his brave imagination, makes these stories as smart and fresh as they are grim. (Feb. 24) (c) Copyright PWxyz, LLC. All rights reserved

Library Journal Review

Three novellas on forbidden love from a Pulitzer Prize winner. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.



Revenge FRONT HALL This is the hall. It isn't much of a one, but it does the job. Boots here, umbrellas there. I hate those awful houses, don't you, where the door opens right into the living room. Don't you? It's like being introduced to some man at a party who right away throws his arm around your shoulders. No, give me a little distance, thank you, a little formality. I'm all for the slow buildup, the gradual introduction. Of course you have to imagine it without the bookcase. There isn't a room in the house without a bookcase. May I take your coat? Oh, I like it. It's perfect. And light as a feather. Wherever did you find it? It's so hard to know what to wear this time of year, warm one day cold the next. I worry about my jonquils. They came out last week and then wouldn't you know it: snow. Luckily it didn't stick. It's a miracle they didn't die. I'll just hang it right here, next to mine. It must look very empty to you, all those hangers side by side. Those are my late husband's hats. Funny. One day I cleared out all the coats, all the shoes and galoshes--it just seemed pointless. But I left the hats. I couldn't touch the hats. LIVING ROOM This used to be my favorite room. Listen to me! Used to be. But that's the way it is, you know. I don't have a favorite room anymore. Still, I spend most of my time here. Where else would I go? I'm so glad you like it. One thing we always agreed on, my husband and I, was furniture: it had to be comfortable. As Robert put it, no matter how new it was, it had to look sat in. And of course the piano--what's a living room without a piano, I'd like to know. Not that I ever touched it. No, I gave up piano at twelve. Don't know why, really. It's the sort of thing you later think you regret, without really regretting it. But Robert, now. He quit lessons at fifteen but kept on practicing. He never did like to give anything up. It's a warm room too. When we bought the place it was a little drafty in winter, but first we insulated and then we replaced those drafty old windows that Robert had to put up every fall. Triple-track: it made a difference, let me tell you. When you close the curtains, in cold weather, it's just as if you're sealing yourself in. I'd sit on the couch with my feet tucked under, reading, while Robert sat in the chair there, by the bookcase, reading and marking passages. Or we'd talk--you know, thoughts drifting up, turning into words, like, I don't know, like a way of breathing. Sometimes he made a fire in the fireplace--excellent draft. I meant to tell you I had the chimney cleaned only last month. Was that ever a job. You wouldn't believe what was in there. I almost fell over when I saw the bill. But hey, can you blame the poor guy? Anyway. When the fire was going, I'd move to that end of the couch, to be near it. I could feel the heat all along my right side. Sometimes Robert would go over to the piano, if the mood struck him. He never played for anyone except me. This wasn't exactly as romantic as it sounds. He called himself an amateur--harsh word for Robert--said he refused to destroy beautiful things in public. Robert never liked to make mistakes. It upset him. He played for me because he knew I wouldn't mind an occasional wrong note. Or you could say he played for himself and allowed me to overhear him. But I loved to hear him play, especially his Chopin nocturnes. He was crazy about Chopin, said he was the greatest composer--not ever, but of piano music. Second was Mozart. He'd play those Mozart sonatas over and over--every single one of them. Do you know what he'd do? He'd begin with any sonata and play right through the book, in order, till all of a sudden--right in the middle of a movement--the middle of a phrase--he stopped. "That's enough of that!" he'd say, as though he were angry at himself, or . . . or disappointed. Robert was hard on himself. You had to know when to soothe him and when to leave him alone. Men are harder on themselves that way than women, don't you think? Or am I wrong? But when he played, he was able to lose himself for a while, in the music. So imagine a fire going--wood snapping the way it does when it's a little green--the wind rattling the windows behind the curtains--and one of those Chopin melodies that feel like sorrow and ecstasy all mixed together pouring from the keys--and you have my idea of happiness. Or just reading, reading and lamplight, the sound of pages turning. And so you dare to be happy. You do that thing. You dare. I hope you don't mind these little . . . anecdotes of mine. We can just breeze on through the house if you'd rather. Then it's all right to continue? Well. I don't want you to think of me sitting on that couch for twenty-two years with a look of blissful idiocy on my face. You know, the adoring wife and the happy hubby. Twenty- two years! That was how long Robert and I were married: twenty-two years. Things are bound to be a little imperfect, in twenty-two years. I met him when I was twenty-four, working in a bookstore in Vermont. Robert was thirty. Even back then he had that gloomy kind of handsomeness that just . . . slayed me. A handsome moody man. Doomed, as he was fond of saying. Difficult, was what it boiled down to. Robert was difficult. But you work your way through. Besides, I was a handful myself, back then. Demanding. Temperamental. Robert was very patient. Impatient with himself and others, patient with me. We . . . fell in love, as they say. And stayed there. That was the thing. And I knew him: God, did I know him. I was a student of his expressions, a scholar of his moods. I don't know when it was, exactly, that I felt something was wrong. It was last year--spring was further along, half my forsythias dead. You remember that late frost. I was sitting on the couch with a book, after dinner, and Robert was sitting in his chair, with a book facedown on his leg, thinking. Brooding, you could say. For no particular reason I asked myself: Am I happy? And I felt a little pause, a little--oh, breath of hesitation, before I answered: Well, yes, of course I'm happy. Of course I am. Happy. What stayed with me was that blink of hesitation. Robert had been acting a little strange lately. I'd noticed it without noticing it, the way you do. His work wasn't going well again, he was--I mean, all this was nothing new. But there was a new element, something I was suddenly aware of. Robert was very good at giving you his full attention. I've never known anyone who was so good at giving you their full attention that way. He would listen with a kind of . . . a kind of alertness, and whatever he said would be at the center of what you were talking about. I realized that I'd missed this for a while--that his deepest attention was elsewhere. Now, listen. There was no question of unfaithfulness between Robert and me. I knew Robert. It wasn't the sort of thing he did. Not that he didn't notice a pretty woman. He liked pretty women. He liked me, didn't he? Was always talking about how pretty I was and all that; I didn't deny it. And of course women were always noticing him. But noticing's one thing, and Robert . . . it wasn't his way. It just wasn't in the bounds of possibility. Besides, we were happy. Weren't we? But I found myself thinking, on the couch--or not really thinking, it was more like the shadow of a thought: could it be that Robert . . . ? I immediately felt embarrassed, almost . . . ashamed, as if I'd been caught in some unpleasant act. But there it was. The little thought-shadow. This mantelpiece came with the house. I can show it to you in the original plan. Solid marble. Nice, if you like that sort of thing. Listen. I'll tell you a story. Once upon a time there was a woman--just like me. She grew up in a small New England town, just like me. She was well loved and cheerful and fond of reading, just like me. She was good at school but not brilliant and went to a small college in Vermont, and at the age of twenty-four she fell in love--just like me. She married the next year, and she and her husband moved into a comfortable old house. The years passed. She was happy. Then one day, do you know what happened? Listen: I'll tell you what happened. Nothing happened. She was happy, life was worth living, she liked the summer, and the fall, and the winter, and the spring, and she liked all the days of the week. And this woman was not like me, not like me at all. That's my story. Did you like it? But--good lord--can you believe it? All along I've been holding this envelope. You must have been wondering. Why didn't you say something? It's the appraisal. As I said on the phone, I'm selling the house myself. I have no use for realtors--or reelators, as everybody says these days. God, how Robert hated that. Put some water in the perculator for the reelator. Then we can discuss nucular war. Anyway, I had the place appraised, and here's the report. I won't ask a penny more, but I also won't take a penny less. That keeps it nice and simple. Now if we step around this way. . . . Door to the cellar. Back porch. I want to show you the back porch. But first the kitchen. That door? Excerpted from The King in the Tree: Three Novellas by Steven Millhauser All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.