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Alexandra, a sculptor, summons thunderstorms; Jane, a cellist, floats on the air; and Sukie, the local gossip columnist, turns milk into cream Toward the end of the Vietnam era, in a snug little Rhode Island seacoast town, wonderful powers have descended upon Alexandra, Jane, and Sukie, bewitching divorcÃ©es with sudden access to all that is female, fecund, and mysterious.Alexandra, a sculptor, summons thunderstorms; Jane, a cellist, floats on the air; and Sukie, the local gossip columnist, turns milk into cream.Awful mothers, absent lovers - even the females on the periphery (often the jilted, the abandoned, the victims), understandably wind up shrill, judgemental, bitter. Presumably this is all part of Updike's social commentary on ... But what exactly that might be remains, at this point, unclear to me.My introduction to the fiction of John Updike is The Witches of Eastwick and based on 111 pages, it's going to take Elizabeth Montgomery wiggling her nose for me to pick up one of the author's books again.There is not one redeemable female character in this novel.All of the women are vapid, vacuous and more often than not cruel, indifferent and self-absorbed.
I am not being prudish, I'm not suggesting that every female character should be a paradigm of female virtue - but what is Updike saying about women, when all the female characters in this novel are largely abhorrent?
The fat white strings would become her own white fat.
This female struggle of hers against her own weight: at the age of thirty-eight she found it increasingly unnatural.
Artisan, musician and writer, the witches of Eastwick are less committed to their craft--creative craft or witch craft, of which Lexa seems the most talented--as much as they're casting for their next male conquest.
They're each repulsed by Van Horne, the swarthy, super rich New Yorker, but all attracted to him as well. This novel is not progressive in its portrayal of liberated women, with Van Horne breaking up the Thursday coven meetings the three women hold weekly.