Dear Jami Attenberg,

The Middlesteins

The Middlesteins

I pushed away a container of Trader Joe’s dark chocolate-covered almonds before I got to chapter two of your terrific novel The Middlesteins.  It’sMorbid Obesity Help! a wrenching read, an up-close and personal look at four generations of a Midwestern Jewish family, the decisions they made, and the choices that remain to them. I loved ex-attorney Edie Middlestein’s wit and warmth, and the kindness she extended to friends and the less fortunate, but I didn’t want to be her. That’s because she deals with losses─ her beloved father, her faith, her role as do-gooder, her law career, and, finally, her husband─ by bitching at said husband and overeating until, at sixty, she is a full-blown fat lady needing vascular surgery twice in one year. If this sounds like I think your book is a late-night commercial for diet pills or gastric surgery, I don’t. In this novel you join the exalted ranks of authors who chronicle the Jewish mother’s metamorphosis from overprotective immigrant Sophie Portnoy to the very American morbidly obese, diabetic Edie Middlestein.



Like a skilled tightrope walker, you go backward and forward in time, showing the reader how each of Edie’s relatives copes with her refusal to reform her eating habits. We see Edie’s adult kids struggling with her legacy of addiction and the burdens of taking care of someone in its grip. We see her daughter-in-law as another version of the modern Jewish mom, force-feeding her family kale and carrots in lieu of chicken soup. We see Edie’s husband Richard who opts for self-preservation and a search for love and life rather than for staying the course with Edie. We meet their twin grandchildren preparing for their slightly over-the-top b’nai mitzvah while their family is in chaos. We also see Edie and Richard reaching out for the love they no longer feel for one another and we know the deep satisfaction of an ending that is both unexpectedly nuanced and inevitable.

            This ending, involving, among other things, second chances, reinvention, and ethnic diversity is thoroughly American and thoroughly contemporary. And food plays

Fast Food Signs

Fast Food Signs

a big part in it as it does in the entire book. But this is not primarily a novel about food replete with lo-fat recipes. Food is only one of the lenses through which you let us look at our lives today. I say “our” lives because who among us has not struggled with addiction, either a relative’s or one’s own? And who among us has not wondered how our suburban landscape became a series of strip malls full of fast food joints pushing their poison on us and our kids? And who among us has not regretted a disastrous first marriage or career choice?  Or not looked ahead to a shortened life span with friends gone missing, a body gone creaky or worse and then felt a new appreciation for this life, however imperfect? So the story you tell is a familiar one, but the way you tell it, from the perspective of each of Edie’s relatives, young, old, alive, and dead, is what makes it both heartwarming and insightful. You make sure that we come to know these Middlesteins. And each of them is human with flaws and virtues unique to him or her and yet again, familiar to most of us. All these changes of perspective could be confusing but they aren’t. In my next book I hope to shift from one perspective to another as effectively as you do here.

Greek Chorus

Greek Chorus

There are two perspective shifts I especially enjoyed. The first is near the end when Edie and Richard’s old friends describe the b’nai mitzvah. They’re like a Greek chorus, commenting on the action from the sidelines, bearing witness to the coming of age of the youngest Middlesteins while mourning the seemingly inappropriate divorce of the oldest along with the many changes in their once beloved Edie.  The second is earlier when Robin, their alcoholic single daughter, a lapsed Jew who fears the love she feels for Daniel, her neighbor and boyfriend, reluctantly attends

Family Seder

Family Seder

a Seder at his parents’ home. It’s a fairly typical, crowded, jovial Seder with children participating, too much food, and only Manischewitz to drink. The sole sign of tension comes at the end of the evening when Robin overhears Daniel’s parents arguing loudly in the kitchen and gets upset. On the way home, Daniel reassures her that occasionally his parents fight but that their fights do not lead to divorce. His family’s benign dynamic contrasts with the fraught one of the Middlesteins.

            Part of what enables you to make this tragic story go down so easily is the conversational nature of much of your prose. Often I felt as if I were chatting with you rather than reading. This tète á tète we were having began right on page one under the chapter title, Edie, 62 pounds. “How could she not feed their daughter? Little Edie Herzon, age five: not so little. Her mother had noticed this, how could she miss it? Her arms and legs, once peachy and soft, had blossomed into something that surpassed luscious. They were disarmingly solid. A child should be squeezable. She was a cement block of flesh.” The questions and the informality of much of the grammar give your words the drama of shared confidences and, to me anyway, a trace of an inflection I associate with folks who grew up around Yiddish speakers.

            I was sad when our chat was over and I put the book down. Thanks for a great read and an important lesson in writing voices.


Jane Isenberg


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Filed under feminist fiction, Jewish fiction

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