Black and Blue: A Novel by Anna Quindlen

With this stunning novel about a woman and a marriage that begins in passion and becomes violent, the Pulitzer Prize--winning journalist and bestselling author of One True Thing and Object Lessons moves to a new dimension as a writer of superb fiction. If literature were judged solely by its ability to elicit strong emotions, Kirkus Reviews said about One True Thing, columnist-cum-novelist Quindlen would win another Pulitzer. And the same will be said about Black and Blue, a brilliant novel of suspense, substance, and importance. In Black and Blue, Fran Benedetto tells a spellbinding story: how at nineteen she fell in love with Bobby Benedetto, how their passionate marriage became a nightmare, why she stayed, and what happened on the night she finally decided to run away with her ten-year-old son and start a new life under a new name. Living in fear in Florida--yet with increasing confidence, freedom, and hope--Fran unravels the complex threads of family, identity, and desire that shape a woman's life, even as she begins to create a new one. As Fran starts to heal from the pain of the past, she almost believes she has escaped it--that Bobby Benedetto will not find her and again provoke the complex combustion between them of attraction and destruction, lust and love. Black and Blue is a beautifully written, heart-stopping story in which Anna Quindlen writes with power, wisdom, and humor about the real lives of men and women, the varieties of people and love, the bonds between mother and child, the solace of family and friendship, the inexplicable feelings between people who are passionately connected in ways they don't understand. It is a remarkable work of fiction by the writer whom Alice Hoffman has called a national treasure. Editorial Reviews Amazon.com Review Oprah Book Club Selection, April 1998: The first time my husband hit me I was nineteen years old, begins Fran Benedetto, the broken heroine of Anna Quindlen's Black and Blue. With one sweeping sentence, the door to an abused and tortured world is swung wide open and the psyche of a crushed and tattered self-image exposed. Frannie, Frannie, Fran--as Bobby Benedetto liked to call her before smashing her into kitchen appliances--was a young, energetic nursing student when she met her husband-to-be at a local Brooklyn bar. She was instantly captivated by his dark, brooding looks and magnetic personality, but her fascination soon solidified into a marital prison sentence of incessant abuse and the destruction of her own identity. After an especially horrific beating and rape, Fran realizes that the next attack could be the last. Fearing her son would be left alone with Bobby, she escapes one morning with her child. Fran's salvation comes in the form of Patty Bancroft and Co., a relocation agency for abused women that touts better service than the witness protection program. Armed only with a phone number, a few hundred dollars, and the help of several anonymous volunteers, Fran begins a new life. The agency relocates her to Florida, where she becomes Beth Crenshaw, a recently divorced home-care assistant from Delaware. Fran and her son adapt, meeting challenges with unexpected resilience and resolve until their past returns to haunt them. Quindlen renders the intricacies of spousal abuse with eerie accuracy, taking the reader deep within the realm of dysfunctional human ties. However, her vivid descriptions of abuse, emotional disintegration, and acute loneliness at times numb the reader with their realism. From School Library Journal YA?This powerfully written story grips readers from the very first page. Fran and Bobby are crazy about one another from the moment they first meet, but his violent nature reveals itself even before they are married. Later, the accidents become more and more frequent and harder to hide: a broken collarbone, a split lip, a black eye. Finally, Fran escapes the abusive marriage, but by then she is damaged both inside and out. Assisted by a group that aids battered women, she flees with her 10-year-old son, Robert, who knows the truth but is reluctant to believe that the father who loves him so much could beat his mother so badly. Fran begins a new life with a new identity, but she lives in fear, knowing that Bobby won't rest until he finds them. Also, Robert longs for his father. Love between parent and child, coming to grips with the difference between passion and love, the importance of honesty in relationships, and self-knowledge as an essential part of healing?YAs can learn much about these and other themes in this novel about a shattered family and a strong woman determined to rebuild her life.?Molly Connally, Kings Park Library, Fairfax County, VA Copyright 1998 Reed Business Information, Inc. From Library Journal Fran Benedetto has had enough of her self-centered husband's brutality. Though Fran has long loved Bobby passionately, his roughhousing turned into abuse early in their marriage, when the stress of his police career began taking its toll. Fran's concern about the situation's effects on Robert, her too-quiet ten-year-old, together with a particularly vicious battering, goads her to run. An underground organization helps her flee with Robert to a small Florida town, where she begins a new life as Beth Crenshaw. At first the fugitives are miserable, but gradually they settle into the community with a kind of family normalcy they have never experienced. As Fran/Beth strains to make a home, she also struggles with her beliefs about family, love, and her own identity. And, during every seemingly safe moment among her new friends, she lives with the fear of discovery and its possibly lethal consequences. Quindlen (One True Thing, LJ 9/15/94) has created in her third novel a well-paced narrative whose themes reflect important contemporary social concerns. Though Fran's internal musings sometimes slow down the action noticeably, and the crucial character of Bobby is a one-dimensional sketch, the book's pluses will outweigh its drawbacks for most readers of popular fiction. -?Starr E. Smith, Marymount Univ. Lib., Arlington, Va. Copyright 1998 Reed Business Information, Inc. From Kirkus Reviews Pulitzerwinning columnist and novelist Quindlen (One True Thing, 1994, etc.) now takes a talk-show staplespousal abuseand gives it a compelling immediacy in a refreshingly wise and truth- telling novel about life and marriage. Frannie, a nurse, fell deeply in love with Bobby, a handsome New York cop who at the time seemed attractively ``tasty and dangerous,'' as well as kind and thoughtful. But after 17 years of marriage, Bobby has become more dangerous than appealing. Tired of being beaten up, and now coping with a broken nose, Fran takes her ten-year-old son Robert and flees their Brooklyn home. Helped by a women's organization, she and Robert are given new identities and a new place to live: a duplex in Florida. Now known as Beth Crenshaw, Frannie also tries to make a new life for herself and Robert, whom she loves with a fierce and protective devotion. She finds a good friend in the resilient Cindy and a satisfying job as a visiting health aide. She grows close to her patients, especially Mrs. Levitt, a Holocaust survivor. But Frannie can't relax her vigilance: Bobby has resources and investigating tools that might make it easy to find her, and so while her life is increasingly normalshe dates Mike, Robert's nice soccer coachshe's still afraid. The tension is nail-biting but nicely complemented by perceptive insights, as in Frannie's meditation that ``whenever I thought about leaving, I thought about leaving my house . . . balloon shades and miniblinds . . . mugs for the coffee . . . small things; routine, order that's what kept me there for the longest time.'' Inevitably, Bobby catches up with her and exacts a terrible revenge, but an appropriately bittersweet ending gives Fran, who'll always wonder whether she was right to flee, a new love and life. Quindlen writes about women as they really areneither helpless victims nor angry polemicists, but intelligent human beings struggling to do what's right for those they love and for themselves. A book to read and savor. (Author tour) -- Copyright 1998, Kirkus Associates, LP. All rights reserved. Review The New York Times Bestseller Heartbreaking. --Time Beautifully paced--keeps the reader anxiously turning the pages. --The New York Times Book Review A gut-wrencher--another stunner. --The Denver Post Impossible to put down--the tension is both awful and mesmerizing. --St. Louis Post-Dispatch Engrossing--compassionate and tense. --The New York Times Her best novel yet. --Publishers Weekly Absolutely believable--Quindlen writes with power and grace. --The Boston Globe A moving masterpiece. --Lexington Herald-Leader A selection of the Literary Guild and Oprah's Book Club From the Paperback edition. From the Inside Flap With this stunning novel about a woman and a marriage that begins in passion and becomes violent, the Pulitzer Prize--winning journalist and bestselling author of One True Thing and Object Lessons moves to a new dimension as a writer of superb fiction. If literature were judged solely by its ability to elicit strong emotions, Kirkus Reviews said about One True Thing, columnist-cum-novelist Quindlen would win another Pulitzer. And the same will be said about Black and Blue, a brilliant novel of suspense, substance, and importance. In Black and Blue, Fran Benedetto tells a spellbinding story: how at nineteen she fell in love with Bobby Benedetto, how their passionate marriage became a nightmare, why she stayed, and what happened on the night she finally decided to run away with her ten-year-old son and start a new life under a new name. Living in fear in Florida--yet with increasing confidence, freedom, and hope--Fran unravels the complex threads of family, identity, and desire that shape a woman's life, even as she begins to create a new one. As Fran starts to heal from the pain of the past, she almost believes she has escaped it--that Bobby Benedetto will not find her and again provoke the complex combustion between them of attraction and destruction, lust and love. Black and Blue is a beautifully written, heart-stopping story in which Anna Quindlen writes with power, wisdom, and humor about the real lives of men and women, the varieties of people and love, the bonds between mother and child, the solace of family and friendship, the inexplicable feelings between people who are passionately connected in ways they don't understand. It is a remarkable work of fiction by the writer whom Alice Hoffman has called a national treasure. From the Back Cover First rate. With EM>Black and Blue Anna Quindlen takes a giant step forward. --Newsweek Her best novel yet. She establishes suspense from the first sentence and never falters. --Publisher's Weekly (starred review) In her third novel, the Pulitzer Prize-winning journalist demonstrates the same winning qualities that inform her journalism. --People Quindlen proves herself a virtuoso...Mesmerizing narrative...vivid, compassionate, and tense... --The New York Times ...the novel is good enough to become to domestic violence what Uncle Tom's Cabin was to slavery--a morally crystallizing act of propaganda that works because it has the ring of truth. --Time magazine About the Author Anna Quindlen is the author of two bestselling novels, Object Lessons and One True Thing. Her New York Times column Public & Private won a Pulitzer Prize in 1992, and a selection of these columns was published as Thinking Out Loud. She is also the author of a collection of her Life in the 30's columns, Living Out Loud, and two children's books, The Tree That Came to Stay and Happily Ever After. Excerpt. Reprinted by permission. All rights reserved. The first time my husband hit me I was nineteen years old. One sentence and I'm lost. One sentence and I can hear his voice in my head, that butterscotch-syrup voice that made goose bumps rise on my arms when I was young, that turned all of my skin warm and alive with a sibilant S, the drawling vowels, its shocking fricatives. It always sounded like a whisper, the way he talked, the intimacy of it, the way the words seemed to go into your guts, your head, your heart. Geez, Bob, one of the guys would say, you should have been a radio announcer. You should have done those voice-over things for commercials. It was like a genie, wafting purple and smoky from the lamp, Bobby's voice, or perfume when you took the glass stopper out of the bottle. I remember going to court once when Bobby was a witness in a case. It was eleven, maybe twelve years ago, before Robert was born, before my collarbone was broken, and my nose, which hasn't healed quite right because I set it myself, looking in the bathroom mirror in the middle of the night, petals of adhesive tape fringing the frame. Bobby wanted me to come to court when he was testifying because it was a famous case at the time, although one famous case succeeds another in New York City the way one pinky-gold sunset over the sludge of the Hudson River fades and blooms, brand-new each night. A fifteen-year-old boy from Brooklyn was accused of raping a Dominican nun at knifepoint and then asking her to pray for him. His attorney said it was a lie, that the kid had had no idea that the woman in the aqua double-knit pants and the striped blouse was a nun, that the sex was consensual, though the nun was sixty-two and paste-waxing a floor in a shelter at the time. They took paste wax from the knees of the kid's pants, brought in the paste-wax manufacturer to do a chemical comparison. The lawyer was an old guy with a storefront in a bad neighborhood, I remember, and the kid's mother had scraped together the money to hire him because Legal Aid had sent a black court-appointed and she was convinced that her son needed a white lawyer to win his case. Half-blind, hungover, dandruff on the shoulders of his gray suit like a dusting of snow, the kid's attorney was stupid enough to call the kid as a witness and to ask why he had confessed to a crime he hadn't committed. There was this cop in the room, the boy said, real low, his broad forehead tipped toward the microphone, his fingers playing idly with his bottom lip, so that his words were a little muffled. He don't ask none of the questions. He just kept hassling me, man. Like he just keeps saying, Tell us what you did, Tyrone. Tell us what you did. It was like he hypnotized me, man. He just kept saying it over and over. I couldn't get away from him. The jury believed that Tyrone Biggs had done the rape, and so did everybody else in New York who read the tabloids, watched the news. So did the judge, who gave him the maximum, eight to fifteen years, and called him a boil on the body of humanity. But I knew that while Tyrone was lying about the rape he was telling the truth about that police officer, because I lived with that voice every day, had been hypnotized by it myself. I knew what it could do, how it could sound. It went down into your soul, like a confessor, like a seducer, saying, Tell me. Tell me. Frannie, Frannie, Fran, he'd croon, whisper, sing. Sometimes Bobby even made me believe that I was guilty of something, that I was sleeping with every doctor at the hospital, that I made him slip and bang his bad knee. That I made him beat me up, that it was me who made the fist, angled the foot, brought down a hand hard. Hard. The first time he hit me I was nineteen. I can hear his voice now, so persuasive, so low and yet somehow so strong, making me understand once again that I'm all wrong. Frannie, Frannie, Fran, he says. That's how he begins. Frannie, Frannie, Fran. The first time I wasn't your husband yet. You were already twenty, because it was the weekend after we went to City Island for your birthday. And I didn't hit you. You know I didn't hit you. You see, Fran, this is what you do. You twist things. You always twist things. I can hear him in my head. And I know he's right. He didn't hit me, that first time. He just held onto my upper arm so tight that the mark of his fingertips was like a tattoo, a black sun with four small moons revolving around it. It was summer, and I couldn't wear a sundress for a week, or take off my clothes when my sister, Grace, was in the room we shared, the one that looked out over the air shaft to the Tarnowski's apartment on the other side. He had done it because I danced with Dee Stemple's brother and then laughed when he challenged me on it. He held me there, he said, so that I couldn't get away, because if I got away it would be the end of him, he loved me that much. The next night he pushed back the sleeve of my blouse and kissed each mark, and his tears wet the spots as though to wash the black white again, as white as the rest of my white, white skin, as though his tears would do what absolution did for venial sins, wash them clean. Oh, Jesus, he whispered, I am so goddamned sorry. And I cried, too. When I cried in those days it was always for his pain, not for mine. As rich and persuasive as Bobby Benedetto's voice, that was how full and palpable was his sorrow and regret. And how huge was his rage. It was like a twister cloud; it rose suddenly from nothing into a moving thing that blew the roof off, black and strong. I smell beer, I smell bourbon, I smell sweat, I smell my own fear, ranker and stronger than all three. I smell it now in the vast waiting room of Thirtieth Street Station in Philadelphia. There are long wooden benches and my son, Robert, and I have huddled together into the corner of one of them. Across from us slumps a man in the moth-eaten motley of the homeless, who smells of beer and vomit like so many I've seen in the waiting room at the hospital, cooking up symptoms from bad feet to blindness to get a bed for the night, an institutional breakfast on a tray. The benches in Thirtieth Street Station are solid, plain, utilitarian, like the pews in St. Stanislaus. The Church of the Holy Pollack, Bobby called St. Stannie's, but he still wanted us to be married there, where he'd been baptized, where his father had been eulogized as a cop's cop. I had never lived in one place long enough to have a real home parish, and I'd agreed. Together we'd placed a rose from my bouquet at the side altar, in front of the statue of St. Joseph, in memory of Bobby's father. It was the only memory of his father that Bobby ever shared with me. The great vaulted ceiling of the train station arched four stories over us, Robert and I and our one small carryall bag, inside only toothbrushes, a change of clothes, some video-game cartridges and a book, a romance novel, stupid, shallow, but I had enough of real life every day to last me forever. Gilded, majestic, the station was what I'd believed the courtroom would be like, that day I went to court, when my husband took the stand. State your name. Robert Anthony Benedetto. And your occupation? I'm a police officer for the City of New York. The courtroom in the state supreme court had been nothing at all like Thirtieth Street Station. It was low-ceilinged, dingy, paneled in dark wood that sucked up all the light from low windows that looked out on Police Plaza. It seemed more like a rec room than a courtroom. The train station in Philadelphia looked the way I'd always imagined a courtroom would look, or maybe the way one would look in a dream, if you were dreaming you were the judge, or the accused. Robert was staring up at the ceiling, so high above that those of us scattered around the floor so far below were diminished, almost negated by it. At one end of the huge vaulted room was a black statue of an angel holding a dead or dying man. I thought it was a war memorial, and under normal circumstances I would have walked across to read the inscription on the block beneath the angel's naked toes. But whatever the opposite of normal circumstances was, this was it. I shivered in the air-conditioning, dressed for July in a room whose temperature was lowered to April, my mind cold as January. The statue was taller than our little house down the block from the bay in Brooklyn, taller than my in-law's house or the last building where I'd lived with my parents, the one in Bensonhurst, where, in the crowded little bedroom, I'd dressed in my wedding gown, snagging the hem of my train on a popped nail in the scuffed floorboards. The sheer heroic thrust of the station made me feel tiny, almost invisible, almost safe, except that my eyes wandered constantly from the double glass doors to the street at one end to the double glass doors to the street at the other. Waiting, watching, waiting for Bobby to come through the doors, his hands clenched in his pants pockets, his face the dusky color that flooded it whenever he was angry about anything, which was lots of the time. I'd been waiting for Bobby to come through doors most of my life, waiting and watching to gauge his mood and so my own. A finger of sweat traced my spine and slid into the cleft where my underpants began. The cotton at my crotch was wet, summer sweat and fear. I'd been afraid so many times that I thought I knew exactly what it felt like, but this was something different altogether, like the difference between water and ice. Ice in my belly, in my chest, beneath my breasts, between my eyes, as though I'd gulped down a lemonade too quickly in the heat. Brain freeze, Robert and his friends called it when it happened to them, and they'd reel around the kitchen, holding their heads. Wait on the bench by the coffee kiosk, the man had said. He had driven us from New York to Philadelphia in total silence, like a well-trained chauffeur. As we got out of the old Plymouth Volare in fr...