Excerpt from Wifedom by Anna Funder, plus links to reviews, author biography & more

Excerpt
Wifedom

How did I get here?

At the end of summer 2017 I found myself at a moment of peak overload: organising separate new schools for my teenage daughters – uniforms, books, dozens of emails – orthodontics, euphonium hire, my son's holiday program (bring extra shirt for tie-dye!), ferrying a depressed French exchange student to see the sights, arranging for recalcitrant, condescending tradesmen to patch up my old house in three-hour windows of their choosing, sorting out a relative's hospital care, and hosting dear interstate family at a time of great sadness.

All of this was taking me away from work deadlines ticking under every waking minute. I shopped for groceries, yet again, in the soul-sapping local mall. I wound the car, yet again, down the ramps from floor to floor, following EXIT signs I knew were empty promises: I could never, really, leave. When the greedy boom-gate machine inhaled my ticket, I knew: the mall had sucked out my privileged, perimenopausal soul. I had to get her back.

So instead of going home I pulled in around the corner at a second-hand bookshop, Sappho. The ice cream could melt in the boot; the meat could sweat in its toxic plastic. Sappho Books is a relic from my mother's liberation era, the 1970s. It is an unrenovated warren of a terrace house, with handmade signs sticking out from the shelves and a café with potted palms tucked in its wobbly, welcoming courtyard. To climb the creaky wooden stairs to nonfiction is to go back to a gentler, pre-digital era of shabby armchairs and serendipitous discovery. This place is a trove of works sifted from the mass of forgettable books published every decade and found to transcend their time. It is what you missed or never got to, it is what you don't even know you need. Sappho is the opposite of a mall: no one is trying to sell you anything. In fact, the tattooed woman at the till sighs ruefully when you buy one of their books, as if money couldn't, possibly, make up the loss. This place is entirely soul.

In that upstairs back room I found a first-edition, four-volume series of Orwell's Collected Essays, Journalism and Letters from 1968. I've always loved Orwell – his self-deprecating humour, his laser vision about how power works, and who it works on. I sank into an armchair. The pages, dark and fragile, smelt like the past. I opened to the essay 'Shooting an Elephant'. It begins:

In Moulmein, in Lower Burma, I was hated by large numbers of people – the only time in my life that I have been important enough for this to happen to me. I was subdivisional police officer of the town ...

That voice! I dropped the groceries at home, and took Orwell and the French exchange student to the Dawn Fraser Baths on the harbour. The exchange student would swim, maybe cheer up. I would sit in the shade of 140-year-old bleachers and read Orwell's making, piece by short piece, of his writing self.

Towards the end of the day I came to the famous essay 'Why I Write'. 'I knew,' Orwell says, 'that I had a facility with words and a power of facing unpleasant facts, and I felt that this created a sort of private world in which I could get my own back for my failure in everyday life.'

I looked over the sparkling water to Cockatoo Island and considered today's everyday failures – toxic plastic, soul-murder in a car park, the poor French exchange student doing lap after miserable lap. To say nothing of the work undone, piling up now in anxious, redflagged messages in my inbox. I needed to face the 'unpleasant fact' that despite Craig and I imagining we divided the work of life and love equally, the world had conspired against our best intentions. I'd been doing the lion's share for so long we'd stopped noticing. For someone who notices things for a living, this seemed, to borrow our nine-year-old son's term, an 'epic fail'.

Excerpted from Wifedom by Anna Funder. Copyright © 2023 by Anna Funder. Excerpted by permission of Knopf. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.