By Anita Shreve
Margaret and Patrick were married quite a few months once they trigger on what they wish might be a very good adventure-a yr residing in Kenya. Margaret speedy realizes there's a good deal she doesn't find out about the advanced mores of her new domestic, and approximately her personal husband.
A British couple invitations the newlyweds to hitch on a hiking excursion to Mount Kenya, and so they eagerly agree. yet in the course of their harrowing ascent, a awful twist of fate happens. within the aftermath of the tragedy, Margaret struggles to appreciate what occurred at the mountain and the way those occasions have reworked her and her marriage, might be forever.
A swap in Altitude illuminates the interior panorama of a pair, the irrevocable impression of tragedy, and the elusive nature of forgiveness. With beautiful language and amazing emotional depth, Anita Shreve transports us to the unique panoramas of Africa and into the middle of our so much intimate relationships.
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Extra info for A Change in Altitude
What distinguishes these novels from others by Latin American women authors from the nineteenth century is not that their primary focus is to propose or amend nationalist agenda, or to present a purely didactic story to young readers, but rather that they are more concerned with the identity politics of women. The division that I indicate is not black and white, as we know that national and private agendas overlap in subtle and intricate ways in novels of the period; however, one may speak of certain qualities that the novels of Barragán, Cabello, and Roqué share.
Similarly, in 1894 the Mexican modernist poet Manuel Gutiérrez Nájera satirizes a young woman from the University of Cambridge for winning a mathematics competition, in which she excelled over all her male colleagues: “Esa laureada señorita no se casará,” he explains, because “una esposa fuerte en multiplicación es un peligro” (quoted in Zalduondo 2001, 44) [This celebrated young woman will not marry; a woman strong in multiplication is a danger]. As Zalduondo reminds us, his words bring to mind a Spanish saying of unknown origin: “Mujer que sabe Latín, ni encuentra marido, ni tiene buen fin” (The woman who knows Latin does not find a husband, nor does she come to a good end).
As Mexican society became more cosmopolitan, a smattering of education for well-heeled women that did not emphasize critical thinking continued to be regarded as a prestigious reflection on their husbands. Within the role of model homemaker, perceived to be of utmost social importance, women were meant to be somewhat cultivated, yet largely unthinking, domestic beings who served as paragons of morality and propriety for their children. Hence a common characteristic of feminine education in all classes was that it was conceived to reflect well upon or provide utility to others, rather than built on developing areas of interest for women’s growth as individuals; for example, a woman’s fine piano playing could add prestige to her father’s or future husband’s home, but the moment it began to interfere with the care of her children or domestic responsibilities, she was viewed as faltering in her role and ceased to live up to the self-abnegating ideal of the Angel of the House.
A Change in Altitude by Anita Shreve