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About the author
RACHEL CUSK is the author of the critically acclaimed novel Second Place and the Outline trilogy. She has written three memoirs—A Life’s Work, The Last Supper and Aftermath—as well as the novels Saving Agnes, winner of the Whitbread First Novel Award; The Country Life, which won a Somerset Maugham Award; The Temporary; The Lucky Ones; In the Fold; Arlington Park; and The Bradshaw Variations. Twice a finalist for the Scotiabank Giller Prize and the Governor General’s Award, and named one of Granta’s Best of Young British Novelists for 2003, Rachel Cusk is Canadian and lives in Paris.
Summary
Longlisted for the Booker Prize
On O, The Oprah Magazine’s list of 55 of the Most Anticipated Books of 2021
On a sun-soaked Parisian street, M, a mother on the brink of rebellion, wanders into a famous artist’s gallery show. The artist’s paintings speak—quite literally—to her, promising a liberation usually reserved for men. She returns to the coastal home she shares with her husband, but the unsettling impression of the art, and the evasive artist, remains. So she writes to him, inviting him to stay in their second place, a modest cottage salvaged from the land.
When historical catastrophe upends daily life, M’s daughter returns to the marsh, along with her prim, privileged boyfriend. The painter arrives too, accompanied by a lithe, cosmopolitan lover. As the couples become resigned to the perilous indoors, fissures form within the strange group. The painter’s quietly demonic presence wreaks havoc with M, plunging her into existential disarray. As secrets, alliances and private desires come to light, she is forced to choose between her deepest impulses: to comply or to rebel completely.
Like her acclaimed Outline trilogy, Rachel Cusk’s Second Place transcends its form. Inspired by Lorenzo in Taos, Mabel Dodge Luhan’s 1932 memoir about the writer D. H. Lawrence’s fraught visit to her communal property, the novel hovers between past and present, Gothic and contemporary, fable and truth—and continues to haunt us long after we’ve looked away.
