Joe Rose has planned a postcard-perfect afternoon in the English countryside to celebrate his lover's return after six weeks in the States. To complete the picture, there's even a "helium balloon drifting dreamily across the wooded valley." But as Joe and Clarissa watch the balloon touch down, their idyll comes to an abrupt end. The pilot catches his leg in the anchor rope, while the only passenger, a boy, is too scared to jump down. As the wind whips into action, Joe and four other men rush to secure the basket. Mother Nature, however, isn't feeling very maternal. "A mighty fist socked the balloon in two rapid blows, one-two, the second more vicious than the first," and at once the rescuers are airborne. Joe manages to drop to the ground, as do most of his companions, but one man is lifted sky-high, only to fall to his death. In itself, the accident would change the survivors' lives, filling them with an uneasy combination of shame, happiness, and endless self-reproach. (In one of the novel's many ironies, the balloon eventually lands safely, the boy unscathed.) But fate has far more unpleasant things in store for Joe. Meeting the eye of fellow rescuer Jed Parry, for example, turns out to be a very bad move. For Jed is instantly obsessed, making the first of many calls to Joe and Clarissa's London flat that very night. Soon he's openly shadowing Joe and writing him endless letters. (One insane epistle begins, "I feel happiness running through me like an electrical current. I close my eyes and see you as you were last night in the rain, across the road from me, with the unspoken love between us as strong as steel cable.") Worst of all, Jed's version of love comes to seem a distortion of Joe's feelings for Clarissa. Apart from the incessant stalking, it is the conditionals--the contingencies--that most frustrate Joe, a scientific journalist. If only he and Clarissa had gone straight home from the airport... If only the wind hadn't picked up... If only he had saved Jed's 29 messages in a single day... Ian McEwan has long been a poet of the arbitrary nightmare, his characters ineluctably swept up in others' fantasies, skidding into deepening violence, and--worst of all--becoming strangers to those who love them. Even his prose itself is a masterful and methodical exercise in defamiliarization. But Enduring Love and its underrated predecessor, Black Dogs, are also meditations on knowledge and perception as well as brilliant manipulations of our own expectations. By the novel's end, you will be surprisingly unafraid of hot-air balloons, but you won't be too keen on looking a stranger in the eye.


From Library Journal
Maxwell Caulfield gives a chilly narration of McEwan's novel about a tragic incident that opens the door to an encounter between a stalker and his victim. Joe Rose and his wife, Clarissa, enjoying a picnic, are interrupted when a hot-air balloon escapes from its moorings with a child on board. McEwan's engrossing account of the event describes in minute detail the moment the balloon takes flight to the death of one of the would-be rescuers. It is during this time that Jed approaches Joe and begins a series of harassing phone calls, letters, and personal confrontations. The first-person narrative by Joe is effective in following the disturbed young man as he drives a wedge between the couple. Caulfield's reading brings out the highly emotional character of the pursuer and the frustration of his quarry. Recommended for fiction collections.?Catherine Swenson, Norwich Univ. Lib., Northfield, VTCopyright 1998 Reed Business Information, Inc.


The Wall Street Journal, Brooke Allen
Every marriage or relationship, however strong it might seem, is in reality a delicate construction, and this cleverly imagined, beautifully executed piece of fiction is a cold reminder of that fact. It is also a pleasure to read: Mr. McEwan is a consummate professional, and for erudition, slickness (in the best sense of the word) and just plain smarts, he has few peers.


The New York Times Book Review, Sven Birkerts
Though it is a tour de force, McEwan's feat of creation and interpretation is finally less memorable in any of its specifics than is the mystery of Jed Parry and his syndrome, and the unalleviated intensity with which Parry pursues his course.... The deeper implications of McEwan's novel begin to reach us just when we want to believe that all erratic forms of behavior haven been tagged and dealt with.


From AudioFile
When reviewing the abridged version of this book (AudioFile, Oct./Nov. l998), Robin Whitten was troubled by "the disruption of McEwan's careful structure by abridgment." Obviously there is no such problem here. As Joe Rose leans over the body of the man who has fallen from an escaping hot-air balloon, he encounters a man, named Jed Parry, who will shadow him relentlessly--haunting his apartment and answering machine, disrupting his work, almost destroying his marriage--until a final, violent confrontation. Since all this is reported in the first person, David Threlfall, the narrator, becomes Joe Rose, the victim. His rational voice and the deranged voice of Jed Parry become locked in an escalating spiral of suspense. It is a powerful performance...maybe even more powerful than some faint-hearted listeners might wish. Can an audiobook be too good? J.C. (c)AudioFile, Portland, Maine


From Kirkus Reviews
A sad, chilling, precise exploration of deranged love, by the author of, among other works, the novels The Innocent (1990) and Black Dogs (1992). Joe Rose, a middle-aged science writer, takes his wife Clarissa to London's Hampstead Heath for a picnic--and stumbles into a tragedy when a man and his young grandson, on a jaunt by balloon, get into serious trouble. Joe is among the bystanders who race to seize the balloon, which is damaged, close to the ground, and being pushed by high winds toward a precipice. One of the rescuers dies. In the aftermath, Joe exchanges words with Jed Parry, a deeply disturbed young man among those who came rushing to help. Isolated, independently wealthy, Parry has attempted to suppress his homosexual inclinations by immersing himself in a fervent and very personal version of Christianity. Parry quickly fixates on Joe, and, deciding that he is meant to be the means by which Joe, a nonbeliever, will be brought back to God, Parry begins haunting him. He shadows Joe's movements around London, loiters outside his apartment, constantly leaves messages and letters. It's not only God's love that Parry believes he's carrying; he's also, in a confused and only partially conscious manner, convinced that Joe loves him and knows everything about him. Joe's increasingly angry attempts to rid himself of Parry seem to the obsessed man only another test of his devotion, while Joe and Clarissa's marriage begins to crumble under the strain, as do their careers. Finally, a desperate Parry decides he must get rid of Clarissa and, possibly, even Joe himself. In lesser hands, the story might be overwrought and unbelievable, but McEwan's terse, lucid prose and sure grasp of character give resonance to this superb anatomy of obsession and exploration of the mind under extreme circumstance. Painful and powerful work by one of England's best novelists. (First serial to The New Yorker; author tour) -- Copyright ©1997, Kirkus Associates, LP. All rights reserved.


Review
"A remarkable novel, haunting and original and written in prose that anyone who writes can only envy."
--Washington Post

"Impeccably written--[McEwan] is the quietest and most lucid of stylists, with never a word wasted or fumbled."
--New York Review of Books

"A timeless tale about the way fate and faith shape our relationships--part existential fable about the human desire to control fate, [Enduring Love] is also, most affectingly, a story about the strength and fragility of married love."
--Glamour

"Eerie, slow-paced suspense worth its weight in caffeine for keeping you up all night."
--Entertainment Weekly

"[A] beautifully realized--novel about our responses to violence. It asks us to choose between competing visions of events, and, in the process, forces us to examine the way we react to both art and life when something terrible happens."
--Boston Globe

"McEwan's writing--is unflaggingly poised and, as usual, capable of excavating deep, painful trenches in the back corridors of the psyche and the heart."
--Miami Herald

"Cleverly imagined, beautifully executed --Mr. McEwan
has few peers."
--The Wall Street Journal


Review
"A remarkable novel, haunting and original and written in prose that anyone who writes can only envy."
--Washington Post

"Impeccably written--[McEwan] is the quietest and most lucid of stylists, with never a word wasted or fumbled."
--New York Review of Books

"A timeless tale about the way fate and faith shape our relationships--part existential fable about the human desire to control fate, [Enduring Love] is also, most affectingly, a story about the strength and fragility of married love."
--Glamour

"Eerie, slow-paced suspense worth its weight in caffeine for keeping you up all night."
--Entertainment Weekly

"[A] beautifully realized--novel about our responses to violence. It asks us to choose between competing visions of events, and, in the process, forces us to examine the way we react to both art and life when something terrible happens."
--Boston Globe

"McEwan's writing--is unflaggingly poised and, as usual, capable of excavating deep, painful trenches in the back corridors of the psyche and the heart."
--Miami Herald

"Cleverly imagined, beautifully executed --Mr. McEwan
has few peers."
--The Wall Street Journal


Book Description
On a windy spring day in the Chilterns, the calm, organized life of science writer Joe Rose is shattered when he witnesses a tragic accident: a hot-air balloon with a boy trapped in its basket is being tossed by the wind, and in the attempt to save the child, a man is killed. A stranger named Jed Parry joins Rose in helping to bring the balloon to safety. But unknown to Rose, something passes between Parry and himself on that day--something that gives birth to an obsession in Parry so powerful that it will test the limits of Rose's beloved rationalism, threaten the love of his wife, Clarissa, and drive him to the brink of murder and madness. Brilliant and compassionate, this is a novel of love, faith, and suspense, and of how life can change in an instant.


From the Publisher
"Vibrant and unsettling...a tour de force."--The New York Times Book Review"Brilliant...a marvellous fiction...an imaginative reconstruction of a superior kind."--Anita Brookner"McEwan has fashioned a remarkable novel, haunting and original and written in prose that anyone who writes can only envy."--The Washington Post"Cleverly imagined, beautifully executed...a pleasure to read...[McEwan] has few peers."--The Wall Street Journal


From the Inside Flap
On a windy spring day in the Chilterns, the calm, organized life of science writer Joe Rose is shattered when he witnesses a tragic accident: a hot-air balloon with a boy trapped in its basket is being tossed by the wind, and in the attempt to save the child, a man is killed. A stranger named Jed Parry joins Rose in helping to bring the balloon to safety. But unknown to Rose, something passes between Parry and himself on that day--something that gives birth to an obsession in Parry so powerful that it will test the limits of Rose's beloved rationalism, threaten the love of his wife, Clarissa, and drive him to the brink of murder and madness. Brilliant and compassionate, this is a novel of love, faith, and suspense, and of how life can change in an instant.


From the Back Cover
"A remarkable novel, haunting and original and written in prose that anyone who writes can only envy."
--Washington Post"Impeccably written--[McEwan] is the quietest and most lucid of stylists, with never a word wasted or fumbled."
--New York Review of Books"A timeless tale about the way fate and faith shape our relationships--part existential fable about the human desire to control fate, [Enduring Love] is also, most affectingly, a story about the strength and fragility of married love."
--Glamour"Eerie, slow-paced suspense worth its weight in caffeine for keeping you up all night."
--Entertainment Weekly"[A] beautifully realized--novel about our responses to violence. It asks us to choose between competing visions of events, and, in the process, forces us to examine the way we react to both art and life when something terrible happens."
--Boston Globe"McEwan's writing--is unflaggingly poised and, as usual, capable of excavating deep, painful trenches in the back corridors of the psyche and the heart."
--Miami Herald"Cleverly imagined, beautifully executed --Mr. McEwan
has few peers."
--The Wall Street Journal


About the Author
Ian McEwan has written two collections of short stories--First Love, Last Rites and In Between the Sheets--as well as seven novels: The Cement Garden, The Comfort of Strangers, The Child in Time, The Innocent, Black Dogs, Enduring Love, and most recently, Amsterdam.


Excerpt. © Reprinted by permission. All rights reserved.
One

The beginning is simple to mark. We were in sunlight under a turkey oak, partly protected from a strong, gusty wind. I was kneeling on the grass with a corkscrew in my hand, and Clarissa was passing me the bottle--a 1987 Daumas Gassac. This was the moment, this was the pinprick on the time map: I was stretching out my hand, and as the cool neck and the black foil touched my palm, we heard a man's shout. We turned to look across the field and saw the danger. Next thing, I was running toward it. The transformation was absolute: I don't recall dropping the corkscrew, or getting to my feet, or making a decision, or hearing the caution Clarissa called after me. What idiocy, to be racing into this story and its labyrinths, sprinting away from our happiness among the fresh spring grasses by the oak. There was the shout again, and a child's cry, enfeebled by the wind that roared in the tall trees along the hedgerows. I ran faster. And there, suddenly, from different points around the field, four other men were conver
ging on the scene, running like me.

I see us from two hundred feet up, through the eyes of the buzzard we had watched earlier, soaring, circling, and dipping in the tumult of currents: five men running silently toward the center of a hundred-acre field. I approached from the southeast, with the wind at my back. About two hundred yards to my left two men ran side by side. They were farm laborers who had been repairing the fence along the field's southern edge where it skirts the road. The same distance beyond them was the motorist, John Logan, whose car was banked on the grass verge with its door, or doors, wide open. Knowing what I know now, it's odd to evoke the figure of Jed Parry directly ahead of me, emerging from a line of beeches on the far side of the field a quarter of a mile away, running into the wind. To the buzzard, Parry and I were tiny forms, our white shirts brilliant against the green, rushing toward each other like lovers, innocent of the grief this entanglement would bring. The encounter that would unhinge us was minutes away,
its enormity disguised from us not only by the barrier of time but by the colossus in the center of the field, which drew us in with the power of a terrible ratio that set fabulous magnitude against the puny human distress at its base.

What was Clarissa doing? She said she walked quickly toward the center of the field. I don't know how she resisted the urge to run. By the time it happened, the event I am about to describe--the fall--she had almost caught us up and was well placed as an observer, unencumbered by participation, by the ropes and the shouting, and by our fatal lack of cooperation. What I describe is shaped by what Clarissa saw too, by what we told each other in the time of obsessive reexamination that followed: the aftermath, an appropriate term for what happened in a field waiting for its early summer mowing. The aftermath, the second crop, the growth promoted by that first cut in May.

I'm holding back, delaying the information. I'm lingering in the prior moment because it was a time when other outcomes were still possible; the convergence of six figures in a flat green space has a comforting geometry from the buzzard's perspective, the knowable, limited plane of the snooker table. The initial conditions, the force and the direction of the force, define all the consequent pathways, all the angles of collision and return, and the glow of the overhead light bathes the field, the baize and all its moving bodies, in reassuring clarity. I think that while we were still converging, before we made contact, we were in a state of mathematical grace. I linger on our dispositions, the relative distances and the compass point--because as far as these occurrences were concerned, this was the last time I understood anything clearly at all.

What were we running toward? I don't think any of us would ever know fully. But superficially the answer was a balloon. Not the nominal space that encloses a cartoon character's speech or thought, or, by analogy, the kind that's driven by mere hot air. It was an enormous balloon filled with helium, that elemental gas forged from hydrogen in the nuclear furnace of the stars, first step along the way in the generation of multiplicity and variety of matter in the universe, including our selves and all our thoughts.

We were running toward a catastrophe, which itself was a kind of furnace in whose heat identities and fates would buckle into new shapes. At the base of the balloon was a basket in which there was a boy, and by the basket, clinging to a rope, was a man in need of help.


Even without the balloon the day would have been marked for memory, though in the most pleasurable of ways, for this was a reunion after a separation of six weeks, the longest Clarissa and I had spent apart in our seven years. On the way out to Heathrow I had made a detour into Covent Garden and found a semilegal place to park, near Carluccio's. I went in and put together a picnic whose centerpiece was a great ball of mozzarella, which the assistant fished out of an earthenware vat with a wooden claw. I also bought black olives, mixed salad, and focaccia. Then I hurried up Long Acre to Bertram Rota's to take delivery of Clarissa's birthday present. Apart from the flat and our car, it was the most expensive single item I had ever bought. The rarity of this little book seemed to give off a heat I could feel through the thick brown wrapping paper as I walked back up the street.

Forty minutes later I was scanning the screens for arrival information. The Boston flight had only just landed and I guessed I had a half-hour wait. If one ever wanted proof of Darwin's contention that the many expressions of emotion in humans are universal, genetically inscribed, then a few minutes by the arrivals gate in Heathrow's Terminal Four should suffice. I saw the same joy, the same uncontrollable smile, in the faces of a Nigerian earth mama, a thin-lipped Scottish granny, and a pale, correct Japanese businessman as they wheeled their trolleys in and recognized a figure in the expectant crowd. Observing human variety can give pleasure, but so too can human sameness. I kept hearing the same sighing sound on a downward note, often breathed through a name as two people pressed forward to go into their embrace. Was it a major second or a minor third, or somewhere in between? Pa-pa! Yolan-ta! Ho-bi! Nz-e! There was also a rising note, crooned into the solemn, wary faces of babies by long-absent fathers or
grandparents, cajoling, beseeching an immediate return of love. Han-nah? Tom-ee? Let me in!

The variety was in the private dramas: a father and a teenage son, Turkish perhaps, stood in a long silent clinch, forgiving each other, or mourning a loss, oblivious to the baggage trolleys jamming around them; identical twins, women in their fifties, greeted each other with clear distaste, just touching hands and kissing without making contact; a small American boy, hoisted onto the shoulders of a father he did not recognize, screamed to be put down, provoking a fit of temper in his tired mother.

But mostly it was smiles and hugs, and in thirty-five minutes I experienced more than fifty theatrical happy endings, each one with the appearance of being slightly less well acted than the one before, until I began to feel emotionally exhausted and suspected that even the children were being insincere. I was just wondering how convincing I myself could be now in greeting Clarissa when she tapped me on the shoulder, having missed me in the crowd and circled round. Immediately my detachment vanished, and I called out her name, in tune with all the rest.

Less than an hour later we were parked by a track that ran through beech woods in the Chiltern Hills, near Christmas Common. While Clarissa changed her shoes I loaded a backpack with our picnic. We set off down our path arm in arm, still elated by our reunion; what was familiar about her--the size and feel of her hand, the warmth and tranquillity in her voice, the Celt's pale skin and green eyes--was also novel, gleaming in an alien light, reminding me of our very first meetings and the months we spent falling in love. Or, I imagined, I was another man, my own sexual competitor, come to steal her from me. When I told her, she laughed and said I was the world's most complicated simpleton, and it was while we stopped to kiss and wondered aloud whether we should not have driven straight home to bed that we glimpsed through the fresh foliage the helium balloon drifting dreamily across the wooded valley to our west. Neither the man nor the boy was visible to us. I remember thinking, but not saying, that it was a p
recarious form of transport when the wind rather than the pilot set the course. Then I thought that perhaps this was the very nature of its attraction. And instantly the idea went out of my mind.

We went through College Wood toward Pishill, stopping to admire the new greenery on the beeches. Each leaf seemed to glow with an internal light. We talked about the purity of this color, the beech leaf in spring, and how looking at it cleared the mind. As we walked into the wood the wind began to get up and the branches creaked like rusted machinery. We knew this route well. This was surely the finest landscape within an hour of central London. I loved the pitch and roll of the fields and their scatterings of chalk and flint, and the paths that dipped across them to sink into the darkness of the beech stands, certain neglected, badly drained valleys where thick iridescent mosses covered the rotting tree trunks and where you occasionally glimpsed a muntjak blundering through the undergrowth.

For much of the time as we walked westward we were talking about Clarissa's research--John Keats dying in Rome in the house at the foot of the Spanish Steps where he lodged with his friend, Joseph Severn. Was it possible there were still three or four unpublished letters of Keats's in existence? Might one of them be addressed to Fanny Brawne? Clarissa had reason to think so and had spent part of a sabbatical term traveling around Spain and Portugal, visiting houses known to Fanny Brawne and to Keats's sister Fanny. Now she was back from Boston, where she had been working in the Houghton Library at Harvard, trying to trace correspondence from Severn's remote family connections. Keats's last known letter was written almost three months before he died, to his old friend Charles Brown. It's rather stately in tone and typical in throwing out, almost as parenthesis, a brilliant description of artistic creation: "the knowledge of contrast, feeling for light and shade, all that information (primitive sense) necessary
for a poem, are great enemies to the recovery of the stomach." It's the one with the famous farewell, so piercing in its reticence and courtesy: "I can scarcely bid you goodbye, even in a letter. I always made an awkward bow. God bless you! John Keats." But all the biographies agree that Keats was in remission from tuberculosis when he wrote this letter, and remained so for a further ten days. He visited the Villa Borghese and strolled down the Corso. He listened with pleasure to Severn playing Haydn, he mischievously tipped his dinner out the window in protest at the quality of the cooking, and he even thought about starting a poem. If letters existed from this period, why would Severn or, more likely, Brown have wanted to suppress them? Clarissa thought she had found the answer in a couple of references in correspondence between distant relations of Brown's written in the 1840s, but she needed more evidence, different sources.

"He knew he'd never see Fanny again," Clarissa said. "He wrote to Brown and said that to see her name written would be more than he could bear. But he never stopped thinking about her. He was strong enough those days in December, and he loved her so much. It's easy to imagine him writing a letter he never intended to send."

I squeezed her hand and said nothing. I knew little about Keats or his poetry, but I thought it possible that in his hopeless situation, he would not have wanted to write precisely because he loved her so much. Lately I'd had the idea that Clarissa's interest in these hypothetical letters had something to do with our own situation, and with her conviction that love that did not find its expression in a letter was not perfect. In the months after we met and before we bought the apartment, she had written me some beauties, passionately abstract in their exploration of the ways our love was different from and superior to any that had ever existed. Perhaps that's the essence of a love letter, to celebrate the unique. I had tried to match hers, but all that sincerity would permit me were the facts, and they seemed miraculous enough to me: a beautiful woman loved and wanted to be loved by a large, clumsy, balding fellow who could hardly believe his luck.


We stopped to watch the buzzard as we were approaching Maidensgrove. The balloon may have recrossed our path while we were in the woods that cover the valleys around the nature reserve. By the early afternoon we were on the Ridgeway Path, walking north along the line of the escarpment. Then we struck out along one of those broad fingers of land that project westward from the Chilterns into the rich farmland below. Across the Vale of Oxford we could make out the outlines of the Cotswold Hills and beyond them, perhaps, the Brecon Beacons rising in a faint blue mass. Our plan had been to picnic right out on the end, where the view was best, but the wind was too strong by now. We went back across the field and sheltered among the oaks along the northern side. And it was because of these trees that we did not see the balloon's descent. Later I wondered why it had not been blown miles away. Later still I discovered that the wind at five hundred feet was not the same that day as the wind at ground level.

The Keats conversation faded as we unpacked our lunch. Clarissa pulled the bottle from the bag and held it by its base as she offered it to me. As I have said, the neck touched my palm as we heard the shout. It was a baritone, on a rising note of fear. It marked the beginning and, of course, an end. At that moment a chapter--no, a whole stage--of my life closed. Had I known, and had there been a spare second or two, I might have allowed myself a little nostalgia. We were seven years into a childless marriage of love. Clarissa Mellon was also in love with another man, but with his two hundredth birthday coming up, he was little trouble. In fact, he helped in the combative exchanges that were part of our equilibrium, our way of talking about work. We lived in an art deco apartment block in North London with a below-average share of worries--a money shortage for a year or so, an unsubstantiated cancer scare, the divorces and illnesses of friends, Clarissa's irritation with my occasional and manic bouts of dissat
isfaction with my kind of work--but there was nothing that threatened our free and intimate existence.

What we saw when we stood from our picnic was this: a huge gray balloon, the size of a house, the shape of a teardrop, had come down in the field. The pilot must have been halfway out of the passenger basket as it touched the ground. His leg had become entangled in a rope that was attached to an anchor. Now, as the wind gusted and pushed and lifted the balloon toward the escarpment, he was being half dragged, half carried across the field. In the basket was a child, a boy of about ten. In a sudden lull, the man was on his feet, clutching at the basket, or at the boy. Then there was another gust, and the pilot was on his back, bumping over the rough ground, trying to dig his feet in for purchase or lunging for the anchor behind him in order to secure it in the earth. Even if he had been able, he would not have dared disentangle himself from the anchor rope. He needed his weight to keep the balloon on the ground, and the wind could have snatched the rope from his hands.

As I ran I heard him shouting at the boy, urging him to leap clear of the basket. But the boy was tossed from one side to another as the balloon lurched across the field. He regained his balance and got a leg over the edge of the basket. The balloon rose and fell, thumping into a hummock, and the boy dropped backward out of sight. Then he was up again, arms stretched out toward the man and shouting something in return--words or inarticulate fear, I couldn't tell.

I must have been a hundred yards away when the situation came under control. The wind had dropped; the man was on his feet, bending over the anchor as he drove it into the ground. He had unlooped the rope from his leg. For some reason--complacency, exhaustion, or simply because he was doing what he was told--the boy remained where he was. The towering balloon wavered and tilted and tugged, but the beast was tamed. I slowed my pace, though I did not stop. As the man straightened, he saw us--or at least the farmworkers and me--and he waved us on. He still needed help, but I was glad to slow to a brisk walk. The farm laborers were also walking now. One of them was coughing loudly. But the man with the car, John Logan, knew something we didn't and kept on running. As for Jed Parry, my view of him was blocked by the balloon that lay between us.

The wind renewed its rage in the treetops just before I felt its force on my back. Then it struck the balloon, which ceased its innocent, comical wagging and was suddenly stilled. Its only motion was a shimmer of strain that rippled out across its ridged surface as the contained energy accumulated. It broke free, the anchor flew up in a spray of dirt, and balloon and basket rose ten feet in the air. The boy was thrown back, out of sight. The pilot had the rope in his hands and was lifted two feet clear off the ground. If Logan had not reached him and taken hold of one of the many dangling lines, the balloon would have carried the boy away. Instead, both men were now being pulled across the field, and the farmworkers and I were running again.

I got there before them. When I took a rope, the basket was above head height. The boy inside it was screaming. Despite the wind, I caught the smell of urine. Jed Parry was on a rope seconds after me, and the two farmworkers, Joseph Lacey and Toby Greene, caught hold just after him. Greene was having a coughing fit, but he kept his grip. The pilot was shouting instructions at us, but too frantically, and no one was listening. He had been struggling too long, and now he was exhausted and emotionally out of control. With five of us on the lines the balloon was secured. We simply had to keep steady on our feet and pull hand over hand to bring the basket down, and this, despite whatever the pilot was shouting, was what we began to do.

By this time we were standing on the escarpment. The ground dropped away sharply at a gradient of about twenty-five percent and then leveled out into a gentle slope toward the bottom. In winter this is a favorite tobogganing spot for local kids. We were all talking at once. Two of us, myself and the motorist, wanted to walk the balloon away from the edge. Someone thought the priority was to get the boy out. Someone else was calling for the balloon to be pulled down so that we could anchor it firmly. I saw no contradiction, for we could be pulling the balloon down as we moved back into the field. But the second opinion was prevailing. The pilot had a fourth idea, but no one knew or cared what it was.

I should make something clear. There may have been a vague communality of purpose, but we were never a team. There was no chance, no time. Coincidences of time and place, a predisposition to help, had brought us together under the balloon. No one was in charge--or everyone was, and we were in a shouting match. The pilot, red-faced, bawling, and sweating, we ignored. Incompetence came off him like heat. But we were beginning to bawl our own instructions too. I know that if I had been uncontested leader, the tragedy would not have happened. Later I heard some of the others say the same thing about themselves. But there was not time, no opportunity for force of character to show. Any leader, any firm plan, would have been preferable to none. No human society, from the hunter-gatherer to the postindustrial, has come to the attention of anthropologists that did not have its leaders and the led; and no emergency was ever dealt with effectively by democratic process.

It was not so difficult to bring the passenger basket down low enough for us to see inside. We had a new problem. The boy was curled up on the floor. His arms covered his face and he was gripping his hair tightly. "What's his name?" we said to the red-faced man.

"Harry."

"Harry!" we shouted. "Come on, Harry. Harry! Take my hand, Harry. Get out of there, Harry!"

But Harry curled up tighter. He flinched each time we said his name. Our words were like stones thrown down at his body. He was in paralysis of will, a state known as learned helplessness, often noted in laboratory animals subjected to unusual stress; all impulses to problem-solving disappear, all instinct for survival drains away. We pulled the basket down to the ground and managed to keep it there, and we were just leaning in to try and lift the boy out when the pilot shouldered us aside and attempted to climb in. He said later that he told us what he was trying to do. We heard nothing for our own shouting and swearing. What he was doing seemed ridiculous, but his intentions, it turned out, were completely sensible. He wanted to deflate the balloon by pulling a cord that was tangled in the basket.

"Yer great pillock!" Lacey shouted. "Help us reach the lad out."

I heard what was coming two seconds before it reached us. It was as though an express train were traversing the treetops, hurtling toward us. An airy, whining, whooshing sound grew to full volume in half a second. At the inquest, the Met office figures for wind speeds that day were part of the evidence, and there were some gusts, it was said, of seventy miles an hour. This must have been one, but before I let it reach us, let me freeze the frame--there's a security in stillness--to describe our circle.

To my right the ground dropped away. Immediately to my left was John Logan, a family doctor from Oxford, forty-two years old, married to a historian, with two children. He was not the youngest of our group, but he was the fittest. He played tennis to county level and belonged to a mountaineering club. He had done a stint with a mountain rescue team in the western Highlands. Logan was a mild, reticent man, apparently, otherwise he might have been able to force himself usefully on us as a leader. To his left was Joseph Lacey, sixty-three, farm laborer, odd-job man, captain of his local bowls team. He lived with his wife in Watlington, a small town at the foot of the escarpment. On his left was his mate, Toby Greene, fifty-eight, also a farm laborer, unmarried, living with his mother at Russell's Water. Both men worked for the Stonor estate. Greene was the one with the smoker's cough. Next around the circle, trying to get into the basket, was the pilot, James Gadd, fifty-five, an executive in a small advertising
company who lived in Reading with his wife and one of their grownup children, who was mentally handicapped. At the inquest, Gadd was found to have breached half a dozen basic safety procedures, which the coroner listed tonelessly. Gadd's ballooning license was withdrawn. The boy in the basket was Harry Gadd, his grandson, ten years old, from Camberwell, London. Facing me, with the ground sloping away to his left, was Jed Parry. He was twenty-eight, unemployed, living on an inheritance in Hampstead.

This was the crew. As far as we were concerned, the pilot had abdicated his authority. We were breathless, excited, determined on our separate plans, while the boy was beyond participating in his own survival. He lay in a heap, blocking out the world with his forearms. Lacey, Greene, and I were attempting to fish him out, and now Gadd was climbing over the top of us. Logan and Parry were calling out their own suggestions. Gadd had placed one foot by his grandson's head and Greene was cussing him when it happened. A mighty fist socked the balloon in two rapid blows, one-two, the second more vicious than the first. And the first was vicious. It jerked Gadd right out of the basket onto the ground, and it lifted the balloon five feet or so, straight into the air. Gadd's considerable weight was removed from the equation. The rope ran through my grip, scorching my palms, but I managed to keep hold, with two feet of line spare. The others kept hold too. The basket was right above our heads now, and we stood with arm
s upraised like Sunday bell ringers. Into our amazed silence, before the shouting could resume, the second punch came and knocked the balloon up and westward. Suddenly we were treading the air with all our weight in the grip of our fists.

Those one or two ungrounded seconds occupy as much space in memory as might a long journey up an uncharted river. My first impulse was to hang on in order to keep the balloon weighted down. The child was incapable, and was about to be borne away. Two miles to the west were high-voltage power lines. A child alone and needing help. It was my duty to hang on, and I thought we would all do the same.

Almost simultaneous with the desire to stay on the rope and save the boy, barely a neuronal pulse later, came other thoughts, in which fear and instant calculations of logarithmic complexity were fused. We were rising, and the ground was dropping away as the balloon was pushed westward. I knew I had to get my legs and feet locked around the rope. But the end of the line barely reached below my waist, and my grip was slipping. My legs flailed in the empty air. Every fraction of a second that passed increased the drop, and the point must come when to let go would be impossible or fatal. And compared with me, Harry was safe, curled up in the basket. The balloon might well come down safely at the bottom of the hill. And perhaps my impulse to hang on was nothing more than a continuation of what I had been attempting moments before, simply a failure to adjust quickly.

And again, less than one adrenally incensed heartbeat later, another variable was added to the equation: someone let go, and the balloon and its hangers-on lurched upward another several feet.

I didn't know, nor have I ever discovered, who let go first. I'm not prepared to accept that it was me. But everyone claims not to have been first. What is certain is that if we had not broken ranks, our collective weight would have brought the balloon to earth a quarter of the way down the slope as the gust subsided a few seconds later. But as I've said, there was no team, there was no plan, no agreement to be broken. No failure. So can we accept that it was right, every man for himself? Were we all happy afterward that this was a reasonable course? We never had that comfort, for there was a deeper covenant, ancient and automatic, written in our nature. Cooperation--the basis of our earliest hunting successes, the force behind our evolving capacity for language, the glue of our social cohesion. Our misery in the aftermath was proof that we knew we had failed ourselves. But letting go was in our nature too. Selfishness is also written on our hearts. This is our mammalian conflict: what to give to the others a
nd what to keep for yourself. Treading that line, keeping the others in check and being kept in check by them, is what we call morality. Hanging a few feet above the Chilterns escarpment, our crew enacted morality's ancient, irresolvable dilemma: us, or me.

Someone said me, and then there was nothing to be gained by saying us. Mostly, we are good when it makes sense. A good society is one that makes sense of being good. Suddenly, hanging there below the basket, we were a bad society, we were disintegrating. Suddenly the sensible choice was to look out for yourself. The child was not my child, and I was not going to die for it. The moment I glimpsed a body falling away--but whose?--and I felt the balloon lurch upward, the matter was settled; altruism had no place. Being good made no sense. I let go and fell, I reckon, about twelve feet. I landed heavily on my side; I got away with a bruised thigh. Around me--before or after, I'm not so sure--bodies were thumping to the ground. Jed Parry was unhurt. Toby Greene broke his ankle. Joseph Lacey, the oldest, who had done his National Service with a paratroop regiment, did no more than wind himself.

By the time I got to my feet, the balloon was fifty yards away and one man was still dangling by his rope. In John Logan, husband, father, doctor, and mountain rescue worker, the flame of altruism must have burned a little stronger. It didn't need much. When four of us let go, the balloon, with six hundred pounds shed, must have surged upward. A delay of one second would have been enough to close his options. When I stood up and saw him, he was a hundred feet up and rising, just where the ground itself was falling. He wasn't struggling, he wasn't kicking or trying to claw his way up. He hung perfectly still along the line of the rope, all his energies concentrated in his weakening grip. He was already a tiny figure, almost black against the sky. There was no sight of the boy. The balloon and its basket lifted away and westward, and the smaller Logan became, the more terrible it was, so terrible it was funny, it was a stunt, a joke, a cartoon, and a frightened laugh heaved out of my chest. For this was prepost
erous, the kind of thing that happened to Bugs Bunny or Tom or Jerry, and for an instant I thought it wasn't true, and that only I could see right through the joke, and that my utter disbelief would set reality straight and see Dr. Logan safely to the ground.

I don't know whether the others were standing or sprawling. Toby Greene was probably doubled up over his ankle. But I do remember the silence into which I laughed. No exclamations, no shouted instructions as before. Mute helplessness. He was two hundred yards away now, and perhaps three hundred feet above the ground. Our silence was a kind of acceptance, a death warrant. Or it was horrified shame, because the wind had dropped, and barely stirred against our backs. He had been on the rope so long that I began to think he might stay there until the balloon drifted down or the boy came to his senses and found the valve that released the gas, or until some beam, or god, or some other impossible cartoon thing, came and gathered him up. Even as I had that hope, we saw him slip down right to the end of the rope. And still he hung there. For two seconds, three, four. And then he let go. Even then, there was a fraction of time when he barely fell, and I still thought there was a chance that a freak physical law, a fur
ious thermal, some phenomenon no more astonishing than the one we were witnessing, would intervene and bear him up. We watched him drop. You could see the acceleration. No forgiveness, no special dispensation for flesh, or bravery, or kindness. Only ruthless gravity. And from somewhere, perhaps from him, perhaps from some indifferent crow, a thin squawk cut through the stilled air. He fell as he had hung, a stiff little black stick. I've never seen such a terrible thing as that falling man.

FROM OUR EDITORS

The Barnes & Noble Review
February 1998

The story begins on a windy spring day in the Chilterns when the calm, organized life of science writer Joe Rose is shattered when he witnesses a tragic accident: A balloon with a young boy trapped in it is tossed by the wind, and in an attempt to save the child, a man is killed. The afternoon, Joe reflects, could have ended in more tragedy but for his brief meeting with Jed Parry, who has joined Rose in helping to bring the balloon to safety.

But unknown to Rose, something passes between them — something that gives birth in Parry to an obsession so powerful that it will test the limits of Rose's scientific rationalism, threaten his relationship with his wife, Clarissa, and drive him to take desperate measures to stay alive.

Parry suffers from a condition known to psychiatrists as De Clerambault syndrome, in which the afflicted individual obsessively pursues the object of his desire until the frustrated love turns to hate and rage — transforming one of life's most valued experiences into pathological horror. Seeking answers in science, Rose grows more paranoid and terrified until his fear threatens to crack his marriage, and he realizes that he needs something beyond the cold reason of science if this love is to be endured.

With the brilliance and deep compassion that have brought so many readers to his work, Ian McEwan once again spins a tale of life intruded upon — and discovers profound truths about the nature of love and the power of forgiveness. Compelling, utterly and terrifyingly convincing, Enduring Love reveals howanordinary man can be driven to the brink of murder and madness by another man's delusions.

FROM THE PUBLISHER

The story begins on a windy spring day in the Chilterns when the calm, organized life of Joe Rose is shattered by a ballooning accident. The afternoon, Joe reflects, could have ended in mere tragedy, but for his brief meeting with Jed Parry. Unknown to Rose, something passes between them - something that gives birth in Parry to an obsession so powerful that it will test to the limits Rose's beloved scientific rationalism, threaten the love of his wife, Clarissa, and drive him to take desperate measures to stay alive.

SYNOPSIS

Considered by many critics to be the novel that should have won Ian McEwan the Booker Prize, ENDURING LOVE is an extraordinary exploration of love, faith, and obsession, the story of two delicately ordered lives thrown out of balance by a desperate, deranged passion. Joe Rose is a scientist by training and a science writer by trade. Though he has a secure, loving relationship with his wife, Clarissa, the stillborn specter of the scientific career he might have had still haunts him. Clarissa also has her ghosts -- those of the children a medical mishap has left her unable to bear. Despite these disappointments, they have established a careful emotional equilibrium between themselves and their professional lives. But while hiking through the Chiltern Hills one windy spring afternoon, Joe and Clarissa become unscripted players in a hot-air balloon tragedy that leaves one would-be rescuer dead and saddles Joe with the ardent and unwanted attentions of a disturbed young man.

FROM THE CRITICS

Elizabeth Judd

The opening scene in Enduring Love is absolutely riveting: Joe Rose, who's picnicking with his wife, Clarissa, hears a shout and races toward a helium balloon that's about to crash with a boy trapped in its basket. Joe and four other passers-by attempt to rescue the child by grabbing onto the balloon to weigh it down. But as the balloon suddenly rises, four of the men -- Joe included -- let go; only one man holds on, and he's killed for his bravery. "Hanging a few feet above the Chilterns escarpment, our crew enacted morality's ancient, irresolvable dilemma: us, or me."

In the early chapters, McEwan slows the action and savors the implications of individuals' pulling together or falling apart. But it's soon revealed that the ballooning accident is a bit of clever misdirection, an intense experience that propels Jed Parry, one of the would-be heroes, to fall hopelessly and obsessively in love with Joe. While Joe, a science writer, is prepared to parse out the Darwinian impulses that might explain the ballooning tragedy, he's powerless to make sense of Parry's stalking phone calls and appearances outside Joe and Clarissa's flat.

McEwan, the author of The Comfort of Strangers and Black Dogs, is interested in how we construct coherent narratives out of chaos. Eventually, Joe de-mystifies Parry by diagnosing his feelings as a morbid passion called de Clerambault's syndrome. Too bad, because naming and pathologizing Parry's love saps the story of its energy. Instead of confronting Parry, Joe buys a gun and becomes enmeshed in a meandering side plot. And then -- unexpectedly, miraculously -- the novel comes alive again in its two appendices, one a clinical case study of de Clerambault's syndrome and the other a blissed-out letter from Parry to Joe. McEwan offers these two poles, the scientific and emotional, to frame the range of responses to the inexplicable mystery of love, pathological or otherwise.

Enduring Love gracefully bridges genres; it's a psychological thriller, a meditation on the narrative impulse, a novel of ideas. McEwan's prose is deft, unself-conscious and a joy to read. Here's a book that kept me up all night, mesmerized and entertained. So why am I ingrate enough to complain? For all the wonderful moments, I wish McEwan hadn't dropped the ball, chasing stray plot lines when he could have been teasing out the complexities of the relationships between Parry, Joe and Clarissa. It's because Enduring Love sometimes soars to such heights that I'm disappointed it didn't, in the end, reach greatness. -- Salon

Journal of the American Medical Association

The novel is lyrical and engrossing. Episodes have an emotional impact that forges associations (I will always remember of a piece the opening chapter and the setting in which I read it). Readers of JAMA will find pleasure and provocation in Enduring Love.

Library Journal

After the calm of a pleasant afternoon picnic is punctured by a terrible accident--a man falls to his death as a hot-air balloon floats away, carrying a child--Joe Rose finds himself imbedded in the aftershock. One of several men who tried to hold down the balloon but eventually let go, he must reconcile his part in the tragedy with the threat posed by a stalker trying to save him through love. In turns obsessively morbid and cunningly funny, McEwan's deftly crafted prose holds the reader with the intensity of a thriller while engaging in a deep psychological exploration of shock, grief, the need for redemption, and, ultimately, the makeup of compassion and love. (LJ 10/15/98)

AudioFile - Jo Carr

When reviewing the abridged version of this book (AudioFile, Oct./Nov. l998), Robin Whitten was troubled by "the disruption of McEwan's careful structure by abridgment." Obviously there is no such problem here. As Joe Rose leans over the body of the man who has fallen from an escaping hot-air balloon, he encounters a man, named Jed Parry, who will shadow him relentlessly--haunting his apartment and answering machine, disrupting his work, almost destroying his marriage--until a final, violent confrontation. Since all this is reported in the first person, David Threlfall, the narrator, becomes Joe Rose, the victim. His rational voice and the deranged voice of Jed Parry become locked in an escalating spiral of suspense. It is a powerful performance...maybe even more powerful than some faint-hearted listeners might wish. Can an audiobook be too good? J.C. cAudioFile, Portland, Maine

AudioFile - Robin F. Whitten