"A life is full of isolated events," writes Carol Shields near the end of Unless, "but these events, if they are to form a coherent narrative, require odd pieces of language to link them together, little chips of grammar (mostly adverbs or prepositions) that are hard to define... words like therefore, else, other, also, thereof, therefore, instead, otherwise, despite, already, and not yet." Shield's explanation for her novel's title lends meaning to this multilayered narrative in which a mother's grief over a daughter's break with the family revises her feminist outlook and pushes her craft as a writer in a new direction.

The oldest daughter of 44-year-old Reta Winters suddenly, inexplicably, drops out of college and ends up on a Toronto street corner panhandling, with a cardboard sign around her neck that reads "goodness." The quiet comforts of Reta's small-town life and the constancy of her feminist perspective sustain her hope that her daughter will snap out of this, whatever "this" is. Threaded into her family's crisis is her ongoing internal elegy on the exclusion of women from the literary canon, which she transposes to mean her daughter's exclusion from humanity. Reta wonders if her daughter has discovered, as she herself did years before, that the world is "an endless series of obstacles, an alignment of locked doors," and has chosen to pursue the one thing that doesn't require power or a voice: goodness.

In her own writing, Reta reaffirms her own sense of self, as well as her sense of humor. As her theoretical reflections on modern womanhood play counterpoint to her unwavering sense of creating a home and keeping her family together, Reta's smarts and fears form a wonderfully coherent narrative--a life worth reading about. With Unless, the inaugural title in HarperCollins's Fourth Estate imprint, Shields (author of the Pulitzer Prize-winning novel The Stone Diaries) once again asserts her place in the canon. --Emily Russin


From Publishers Weekly
If I have any reputation at all it is for being an editor and scholar, and not for producing, to everyone's amazement, a fresh, bright, springtime piece of fiction,' or so it was described in Publishers Weekly. That cheeky self-description sums up the protagonist of Shields's latest, the precocious, compassionate and feisty Reta Winters, an accomplished author who suddenly finds her literary success meaningless when the oldest of her three daughters, Norah, drops out of college to live on the streets of Toronto with a placard labeled Goodness hung around her neck. Shields takes an elliptical approach to Winters's dilemma, slowly exploring the possible reasons why a bright, attractive young woman would simply give up and drop out. As Shields makes her way through Winters's literary career, her marriage and the difficulties she and her daughter face in being taken seriously as women in the modern era, she employs an ingenious conceit by tracking Winters's emotions as she tries to write a sequel to her light romantic novel while helping a fellow writer, a Holocaust survivor, work on her memoirs. As Norah's plight deepens and the nature of her decision begins to surface, the romantic novel turns dark and serious, and Winters faces a rewrite when her long-time editor dies and his pedantic successor tries to introduce a sexist plot twist. Reta Winters is a marvelously inventive character whose thought-provoking commentary on the ties between writing, love, art and family are constantly compelling in this unabashedly feminist novel. The icing on the cake is the ending, which introduces a startling but believable twist to the plight of a young woman who, in doing nothing... has claimed everything. The result is a landmark book that constitutes yet another noteworthy addition to Shields's impressive body of work. Copyright 2002 Cahners Business Information, Inc.


From Library Journal
With yet another delectable investigation into human folly, Shields helps launch a new imprint at HarperCollins.Copyright 2002 Cahners Business Information, Inc.


From AudioFile
"Everything depends on unless." With one deceptively simple sentence, Carol Shields can open a closed mind or pierce the hardest heart. She creates real people who laugh, ache, fall in love and out of innocence. At 44, Reta Winters has a companionable marriage; three intelligent, loving daughters; and a successful writing career. Without warning, her oldest, Norah, drops out of her comfortable life to sit on a Toronto street corner wearing a sign that says 'GOODNESS.' As Reta reflects on her life, on motherhood, the writing process, powerlessness, and humanity, the splendid Joan Allen gives her depth and dimension. Allen's performance precisely captures Reta's initial anguish and, later, her ironic perceptions and sense of humor. Unless is a beautifully constructed Chinese puzzle that leaves us surprisingly hopeful. S.J.H. © AudioFile 2002, Portland, Maine-- Copyright © AudioFile, Portland, Maine


From Booklist
Shields, author of the widely read, Pulitzer Prize-winning Stone Diaries (1994), is American-born but has lived in Canada since 1957, and her adopted homeland provides the setting for her latest novel. A gut-gripping story of one woman's difficult psychological journey, it becomes, in effect, a treatise on goodness and a testament to the several roles women must simultaneously shoulder. Reta Winters lives with her physician husband and three daughters in a farmhouse outside Orangetown, Ontario, an hour from Toronto. Well, all three of Reta's daughters used to live there; Norah, now 19, currently spends her time in silent contemplation, holding a begging bowl on a Toronto street corner. During the course of her anguish over her daughter's renunciation of her middle-class upbringing, Reta, a writer, tries to put life back into reasonable order in the pages of her new novel. Accepting that a daughter has "gone to goodness" is, ironically, a program of pain assuagement for Reta. Her need to bring her daughter back within the family fold arises from the very wellspring of motherhood, and the reader witnesses her attempted retrieval of happiness with open-hearted understanding. Shields shares with fellow Canadian Alice Munro not only her Ontario milieu but also a gift for psychological acuity expressed in limpid, shimmering prose. Brad Hooper
Copyright © American Library Association. All rights reserved

FROM THE PUBLISHER

Reta Winters, 44 years of age, has started a new sort of life. She has discovered the meaning of loss for the first time." For all of her days, Reta has enjoyed the useful monotony of happiness: a loving family, good friends, growing success as a writer of light fiction, novels 'for summertime'. This placid existence cracks open one fearful day when her beloved eldest daughter, Norah, drops out to sit on a gritty street corner, silent but for the sign around her neck that reads "Goodness." Reta's search for what drove her daughter to such a desperate statement turns into an unflinching and surprisingly funny meditation on where we find meaning and hope.

SYNOPSIS

From the Pulitzer Prize-winning author of The Stone Diaries.

Warmth, passion, and wisdom come together in Carol Shields's remarkably supple prose. Unless, a harrowing but ultimately consoling story of one family's anguish and healing, proves her mastery of extraordinary fictions about ordinary life.

FROM THE CRITICS

New Yorker

Reta Winters -- loving helpmeet to a doctor, mother of three cheerful daughters, and author of a successful comic novel -- has always considered herself happy, even blessed. Then her eldest child, nineteen-year-old Norah, briefly disappears and resurfaces as a panhandling mute on a Toronto street corner, holding up a homemade placard that says "Goodness." Shields's ability to use Reta's darkest fears to reveal the order lurking in chaos, without ever losing her light touch (Laurie Colwin comes to mind), is nothing short of astonishing.

Book Magazine

Marvelously idiosyncratic, passionate and wise, Shields' tenth novel rollicks from beginning to end with sauciness and wit. The heroine is forty-four-year-old Reta Winters, who confesses her problems from the start: "It happens that I am going through a period of great unhappiness and loss just now," she admits. The source of Reta's troubles is her firstborn, nineteen-year-old daughter, Norah, who recently dropped out of college and now spends her days on a Toronto street corner wearing a placard that reads "Goodness" around her neck. The reasons behind this erratic behavior are unclear. Reta obsessively wonders what went wrong while she attempts to write her second "comic" novel. The plot of Unless is secondary to its biting commentary, a fact that is destined to generate buzz among literary insiders but may leave readers looking for a traditional story less than enthralled. Plenty is said about the powerlessness of women, the absurdity of publishing and the denigration of our culture. The author laments the suppression of female writers by the male establishment, and she calls to task those who have elevated the lowest common denominator at the expense of originality, vision and talent. Shields never gets lost in the whorl of these discussions. Her feet are firmly planted, even as the pitiable planet spins. —Beth Kephart

Publishers Weekly

If I have any reputation at all it is for being an editor and scholar, and not for producing, to everyone's amazement, a fresh, bright, springtime piece of fiction,' or so it was described in Publishers Weekly. That cheeky self-description sums up the protagonist of Shields's latest, the precocious, compassionate and feisty Reta Winters, an accomplished author who suddenly finds her literary success meaningless when the oldest of her three daughters, Norah, drops out of college to live on the streets of Toronto with a placard labeled Goodness hung around her neck. Shields takes an elliptical approach to Winters's dilemma, slowly exploring the possible reasons why a bright, attractive young woman would simply give up and drop out. As Shields makes her way through Winters's literary career, her marriage and the difficulties she and her daughter face in being taken seriously as women in the modern era, she employs an ingenious conceit by tracking Winters's emotions as she tries to write a sequel to her light romantic novel while helping a fellow writer, a Holocaust survivor, work on her memoirs. As Norah's plight deepens and the nature of her decision begins to surface, the romantic novel turns dark and serious, and Winters faces a rewrite when her long-time editor dies and his pedantic successor tries to introduce a sexist plot twist. Reta Winters is a marvelously inventive character whose thought-provoking commentary on the ties between writing, love, art and family are constantly compelling in this unabashedly feminist novel. The icing on the cake is the ending, which introduces a startling but believable twist to the plight of a young woman who, in doing nothing... has claimed everything. The result is a landmark book that constitutes yet another noteworthy addition to Shields's impressive body of work. FYI: As revealed in an April 14, 2002 profile in the New York Times magazine, Shields, who has terminal breast cancer, believes this will be her last novel. Copyright 2002 Cahners Business Information.

Library Journal

Unlike The Stone Diaries or Larry's Party, with their sweeping chronology of their characters' lives, Shields's new novel transpires over a few dark months. In elegant prose, it examines a woman's emotional journey following her eldest daughter's lapse into either asceticism or psychosis. The narrator, Reta Winters, lives with her physician husband, Tom, and three teenage daughters in a lovely suburban Toronto home. She has intelligent women friends and intellectual fulfillment translating the works of her mentor, an elderly French feminist. On the side, Reta is the author of a well-received novel of "light" fiction. However, the family's lives are radically transformed when her oldest daughter, Norah, leaves college and takes up begging on a Toronto street corner, wearing a sign saying "Goodness." Reta connects this act with women's essential powerlessness, while Tom suspects it to be post-traumatic stress. This remarkably liberal family maintains contact with Norah but doesn't intervene. Meanwhile, Reta distracts herself from her inner disquisition on loss, family, and the role of women by mentally manipulating the characters in her novel-in-progress and dealing with her fussy New York editor, who turns up just as the family crisis resolves itself. Finely detailed, thoughtful, and sometimes even humorous, this book is highly recommended for all fiction collections. Reba Leiding, James Madison Univ., Harrisonburg, VA Copyright 2002 Cahners Business Information.

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