June 2017


‘Anything Is Possible’ by Elizabeth Strout

By Helen Elliott
Cover of Anything Is Possible
Viking; $29.99

Nuanced intricacy is Elizabeth Strout’s hallmark. She knows the emotional weight of everything, animate and inanimate. Strout won the Pulitzer Prize in 2009 with Olive Kitteridge, a novel in 13 interconnected stories about a small community in Maine. Anything Is Possible is a novel in nine interconnected stories set in and around Amgash, Illinois. This is also the hometown of Lucy Barton, the New York–based writer who was the subject of Strout’s 2016 novel, My Name Is Lucy Barton.

Lucy returns in just one story, ‘Sister’. Visiting Chicago for a book signing, she hires a car to return to the awful family house she left 17 years ago. Her brother, Pete, still lives there. He never raises the blinds. Her sister, Vicky, who always wants money, also lives in town. Pete’s tremulousness, Lucy’s determination and Vicky’s anger all set up for something unexpected as the siblings talk and remember things about themselves that no one, not even those who love them now, could ever know.

Lucy, Pete and Vicky’s cousin Abel features in ‘Gift’, the book’s final tale. Abel is a successful businessman who also grew up poor and despised, but married “up”. In ‘Gift’ he returns to a theatre after a Christmas show to find the plastic pony that his granddaughter left behind. There he meets the possibly deranged actor who played Scrooge, who hectors him and forces him to sit on a chair and “talk”. Abel apologises. Scrooge’s amazed response – “You’re stuck in a room with a lunatic and you apologize?” – is the start of something Abel has never felt before: friendship. It’s a deeply affecting story about never being able to show who you really might be to another soul.

But every story here is affecting. Strout is in the stellar company of Anne Tyler, Marilynne Robinson and Lorrie Moore: writers who meticulously pursue emotional clarity. Her characters are ordinary people getting on with their days, and although they might recognise an emotion they are often unable to shape it to language. In moments of small drama, however, Strout cuts through with the fizz of truth, disturbing the placid surface of her characters’ lives. Strout is precise and brilliant at two things: the impact of childhood and the imprint of class. Dottie, in ‘Dottie’s Bed & Breakfast’, is a rare filter of intelligent warmth in this bleak, small-town universe. Having to listen courteously to the arrogant doctor’s wife who is staying with her, Dottie observes that her guest “had been raised to speak about herself as though she was the most interesting thing in the world. Listening to her, Dottie almost admired this.” That tiny “almost” underlines the massive disdain of the first sentence. Intricacy in action.

Helen Elliott
Helen Elliott is a literary journalist and writer.

There is nowhere quite like The Monthly. We are told that we live in a time of diminished attention spans; a time where the 24-hour-news-cycle has produced a collective desire for hot takes and brief summaries of the news and ideas that effect us. But we don’t believe it. The need for considered, reflective, long-form journalism has never been greater, and for almost 20 years, that’s what The Monthly has offered, from some of our finest writers.

That kind of quality writing costs money, and requires the support of our readers. Your subscription to The Monthly allows us to be the home for the best, most considered, most substantial perspectives on the state of the world. It’s Australia’s only current affairs magazine, an indispensable home for cultural commentary, criticism and reviews, and home to personal and reflective essays that celebrate and elevate our humanity.

The Monthly doesn’t just comment on our culture, our society and our politics: it shapes it. And your subscription makes you part of that.

Select your digital subscription

Month selector

In This Issue

Image of Doctor Who producer Verity Lambert reviewing sound-effect tapes produced by the BBC Radiophonic Workshop

Time Lords

The Radiophonic Workshop, creator of those ‘Doctor Who’ sound effects, is back



Brutalist masterpiece or harbour eyesore? Sydney’s Sirius building faces an uncertain future


Nature 2.0

Saving Australia’s smallest freshwater fish

Cover of Men Without Women

‘Men Without Women’ by Haruki Murakami

Harvill Secker; $35

Online latest

Osamah Sami with members of his local mosque

In ‘House of Gods’, Sydney’s Muslim community gets to be complicated

Plus, Barnaby Joyce shines in ‘Nemesis’, Emma Seligman and Rachel Sennott deliver ‘Bottoms’, and Chloë Sevigny and Molly Ringwald step up for ‘Feud: Capote vs. The Swans’.

International Film Festival Rotterdam highlights

Films from Iran, Ukraine and Bundaberg were deserving winners at this year’s festival

Two women on a train smile and shake hands

‘Expats’ drills down on Hong Kong’s class divide

Plus, Netflix swallows Trent Dalton, Deborah Mailman remains in ‘Total Control’ and ‘Vanderpump Rules’ returns for another season

Image of a man playing music using electronics and the kora (West African harp)

Three overlooked albums of spiritual jazz from 2023

Recent releases by kora player John Haycock, trumpeter Matthew Halsall and 14-piece jazz ensemble Ancient Infinity Orchestra feel like a refuge from reality