![]() ![]() The attraction is intense, and they get quickly married, just before graduation. Lotto (short for Lancelot) and Mathilde meet at a party, near the end of their time as Vassar undergraduates. The story’s form not only promises a stereoscopic account of the mythological monad that is marriage but holds the tempting possibility that the angrier second version might modify the easier first one, forcing it out of untruth with corrective revelation. Essentially, the man’s view of things (a section titled “Fates”) is happy, open, naïvely victorious, and complacent the woman’s (“Furies”) is secretive, damaged, less happy, and, accordingly, much less complacent. ![]() Illustration by Vivienne Flesherįormally, Lauren Groff’s new novel, “Fates and Furies” (Riverhead), resembles a bed that long marital use has unevenly depressed: it tells the story of an apparently successful marriage from two different perspectives, the husband’s and then the wife’s, and it explores the fierce asymmetry of the two tellings. ![]() Groff’s language is precise, lyrical, rich, at once worldly and epically transfiguring. ![]()
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