OLIVE DAYS

An Orthodox Jewish soap opera, for mature audiences only.

Like every other wife in her Southern California community, Rina Kirsch is “the invisible hero of the relentless Jewish calendar,” and Emerson’s debut gives a dire, almost furious sense of the cleaning, cooking, hosting, and gift giving this entails. Usually when you read pages and pages about food and cooking, it makes you hungry, but here the long lists of ingredients and dishes evoke not pleasure but the repetitive, draining female labor involved in their procurement and production. The pleasure center of Emerson’s debut is not food but sex, but even there the pleasure sometimes mingles with revulsion. As the novel opens in June 2011, the men in Rina’s husband’s circle have decided to permit themselves an evening of wife swapping: “It’s a thing that people do. It helps marriages last.” The swap is described in the graphic terms that are a consistent feature of this intensely carnal novel; think A Sport and a Pastime for Haredi Jews, and get ready for sentences like this: “Sometimes at home he would beat off while thinking about beating off at class to his mikveh fantasies.” In any case, being “traded” for an evening to another man is for Rina an indelible, unforgivable betrayal. Nine months later, she begins an affair with a rabbi and soon after she meets Will Ochoa, the teacher of an evening painting class her husband suggests she take. Rina and Will quickly realize that what is happening between them is real love, the kind that requires you to read Wallace Stevens’ “The Man With the Blue Guitar” out loud during intercourse, the kind that can cause a complete rupture with life as you know it. The plot continues to unfold at a breakneck pace, including vehicular trauma, unexpected pregnancy, religious conversion, life-threatening illness, and more, as the brute force and inexorable rhythms of orthodoxy thrum continually in the background.

Intense, uninhibited, at times overwrought, this bold debut is unlike anything you’ve seen before.