What Oates discovers in A Widow's Story, a cascade-of-consciousness that will mostly mesmerize you and surely move you, is that grief can…unleash an identity crisis…the prodigious author of some 50 novels and perhaps 1,000 stories—as well as poems, essays, plays—has assembled a book more painfully self-revelatory than anything Oates the fiction writer or critic has ever dared to produce.
—The New York Times

Is it perverse to suggest that Joyce Carol Oates's memoir of widowhood is as enthralling as it is painful? Oates has always focused her writing so intensely that virtually all her prose is compelling, but this brave account of her recent grief seems composed with something close to abandon. It is as if Oates has decided, after the sudden death of her husband of 48 years, that her own inclination toward privacy is no longer important.
—The Washington Post

Early one morning in February 2008, Oates drove her husband, Raymond Smith, to the Princeton Medical Center where he was admitted with pneumonia. There, he developed a virulent opportunistic infection and died just one week later. Suddenly and unexpectedly alone, Oates staggered through her days and nights trying desperately just to survive Smith's death and the terrifying loneliness that his death brought. In her typically probing fashion, Oates navigates her way through the choppy waters of widowhood, at first refusing to accept her new identity as a widow. She wonders if there is a perspective from which the widow's grief is sheer vanity, this pretense that one's loss is so very special that there has never been a loss quite like it. In the end, Oates finds meaning, much like many of Tolstoy's characters, in the small acts that make up and sustain ordinary life. When she finds an earring she thought she'd lost in a garbage can that raccoons have overturned, she reflects, "If I have lost the meaning of my life, and the love of my life, I might still find small treasured things amid the spilled and pilfered trash." At times overly self-conscious, Oates nevertheless shines a bright light in every corner in her soul-searing memoir of widowhood. (Feb.)

As much a portrait of a unique marriage as a chronicle of grief...immensely moving…“ — People

“In a narrative as searing as the best of her fiction, Oates describes the aftermath of her husband Ray’s unexpected death from pneumonia…It’s the painful, scorchingly angry journey of a woman struggling to live in a house “from which meaning has departed, like air leaking from a balloon.” — Entertainment Weekly

“Joyce Carol Oates’s new memoir, A Widow’s Story, is a naked confession about the messy relation of art to life…A Widow’s Story, while about life after the death of a husband, is also about the intense inner life of a female genius…” — Elle

“…A cascade-of-consciousness that will mostly mesmerize you and surely move you…a book more painfully self-revelatory than anything Oates the fiction writer or critic has ever dared to produce.” — New York Times Book Review

“…As enthralling as it is painful…a searing account…It is characteristic of Oates’s superb balancing of the intellectual and the emotional that she enables a reader to experience Smith’s death in the dramatic way she herself did.” — Washington Post

“Flourishes of black humor punctuate the drumbeat of grief, setting the book apart from works such as Joan Didion’s The Year of Magical Thinking.” — Wall Street Journal

“A brave, dark but slyly mordant memoir…Oates rages at the dying of the light of her life in this unflinching, generous portrait of the terror of emptiness.” — National Public Radio

“The novelist and essayist pens her most intimate book about the death of her husband of 46 years. Judging by the excerpt in The New Yorker Oates’ memoir will join Antonia Fraser and Joan Didion on the shelf of essential works on loss.” — Daily Beast

“Oates’ raw emotion lifts the veil of the enormity of grief that most widows, and widowers, must feel at the loss of their partners in a way that will come as a shock to some and a relief to others.” — Minneapolis Star Tribune

“A Widow’s Story is unlike anything Oates has written before…a poignant and raw examination of the obsessiveness and self-indulgence of grief…” — Denver Post

“A harrowing tale…” — Detroit News

“…Astonishingly candid…[Oates’s] suffering gushes forth in page after page of detailed prose, snatches of sentences, reportorial and intuitive, emotional and reflective…Oates set out to write a widow’s handbook. What she has accomplished is a story of a marriage.” — Milwaukee Journal Sentinel

“Reads like a rending of garments…” — Cleveland Plain Dealer

“A vivid and urgent memoir…” — Dallas Morning News

“Oates writes movingly about the terror, depression and suicidal ruminations that dominated her existence in the months after Smith’s death…it’s impossible to be unmoved by Oates’ “Story,” by the degree to which she sees her husband everywhere she looks, as she finds beauty in the elusive notion of renewal.” — Kansas City Star

“This is a brave, haunting, heart-rending book, and it will never let you go.” — Providence Journal

“Affecting…perfectly pitched prose…” — Richmond Times-Dispatch

“Joyce Carol Oates writes like a force of nature, and a story emerges, as if organically, from the physicality of her grief. There are few secrets and no lies, only insights into the inner world of her partner of 50 years.” — Financial Times

“Widowhood for Oates is a rough, disfiguring condition, one that mocks past happiness. Words are her salvation. “A Widow’s Story” is a brave book that carries its author through the contortions of doubt and despair, on a pilgrimage back to life.” — Charleston Post & Courier

“Packed with moments of…frankness…” — Seattle Weekly

“An affecting portrait of anguish.” — The Economist

“Astonishing…revelatory…[A Widow’s Story] is remarkable…for how candidly Oates explores the writer’s secret life: the private world of her marriage, which…she asserts is far truer and more real, and of far greater importance, than any of her imaginary creations.” — Book Forum

“Oates excellently conveys the disconnect between the inwardly chaotic self and the outwardly functioning person…” — New York Review of Books

“[Oates] shines a bright light in every corner in her soul-searing memoir of widowhood.” — Publishers Weekly

“A wildly unhinged, deeply intimate look at the eminent author’s “derangement of Widowhood.”...Oates writes with gut-wrenching honesty and spares no one in ripping the illusions off the face of death...Oates continues to keep her readers guessing at her next thrilling effort.” — Kirkus Reviews

“As a writer, heightened emotion is the essential ingredient in [Oates’] work…As A Widow’s Story progresses, it becomes [Raymond Smith’s] story—both an homage to a decent, intensely private man, and Oates’ way of keeping him in memory as she probes his most closely guarded self.” — Seattle Times

Joyce Carol Oates’s new memoir, A Widow’s Story, is a naked confession about the messy relation of art to life…A Widow’s Story, while about life after the death of a husband, is also about the intense inner life of a female genius…

Oates’ raw emotion lifts the veil of the enormity of grief that most widows, and widowers, must feel at the loss of their partners in a way that will come as a shock to some and a relief to others.

…As enthralling as it is painful…a searing account…It is characteristic of Oates’s superb balancing of the intellectual and the emotional that she enables a reader to experience Smith’s death in the dramatic way she herself did.

A Widow’s Story is unlike anything Oates has written before…a poignant and raw examination of the obsessiveness and self-indulgence of grief…

A brave, dark but slyly mordant memoir…Oates rages at the dying of the light of her life in this unflinching, generous portrait of the terror of emptiness.

As much a portrait of a unique marriage as a chronicle of grief...immensely moving…“

The novelist and essayist pens her most intimate book about the death of her husband of 46 years. Judging by the excerpt in The New Yorker Oates’ memoir will join Antonia Fraser and Joan Didion on the shelf of essential works on loss.

…A cascade-of-consciousness that will mostly mesmerize you and surely move you…a book more painfully self-revelatory than anything Oates the fiction writer or critic has ever dared to produce.

Flourishes of black humor punctuate the drumbeat of grief, setting the book apart from works such as Joan Didion’s The Year of Magical Thinking.

In a narrative as searing as the best of her fiction, Oates describes the aftermath of her husband Ray’s unexpected death from pneumonia…It’s the painful, scorchingly angry journey of a woman struggling to live in a house “from which meaning has departed, like air leaking from a balloon.

…As enthralling as it is painful…a searing account…It is characteristic of Oates’s superb balancing of the intellectual and the emotional that she enables a reader to experience Smith’s death in the dramatic way she herself did.

Flourishes of black humor punctuate the drumbeat of grief, setting the book apart from works such as Joan Didion’s The Year of Magical Thinking.

Packed with moments of…frankness…

Oates writes movingly about the terror, depression and suicidal ruminations that dominated her existence in the months after Smith’s death…it’s impossible to be unmoved by Oates’ “Story,” by the degree to which she sees her husband everywhere she looks, as she finds beauty in the elusive notion of renewal.

Reads like a rending of garments…

This is a brave, haunting, heart-rending book, and it will never let you go.

As a writer, heightened emotion is the essential ingredient in [Oates’] work…As A Widow’s Story progresses, it becomes [Raymond Smith’s] story—both an homage to a decent, intensely private man, and Oates’ way of keeping him in memory as she probes his most closely guarded self.

Joyce Carol Oates writes like a force of nature, and a story emerges, as if organically, from the physicality of her grief. There are few secrets and no lies, only insights into the inner world of her partner of 50 years.

A vivid and urgent memoir…

…Astonishingly candid…[Oates’s] suffering gushes forth in page after page of detailed prose, snatches of sentences, reportorial and intuitive, emotional and reflective…Oates set out to write a widow’s handbook. What she has accomplished is a story of a marriage.

Affecting…perfectly pitched prose…

Widowhood for Oates is a rough, disfiguring condition, one that mocks past happiness. Words are her salvation. “A Widow’s Story” is a brave book that carries its author through the contortions of doubt and despair, on a pilgrimage back to life.

Astonishing…revelatory…[A Widow’s Story] is remarkable…for how candidly Oates explores the writer’s secret life: the private world of her marriage, which…she asserts is far truer and more real, and of far greater importance, than any of her imaginary creations.

A harrowing tale…

Oates excellently conveys the disconnect between the inwardly chaotic self and the outwardly functioning person…

An affecting portrait of anguish.

Joyce Carol Oates writes like a force of nature, and a story emerges, as if organically, from the physicality of her grief. There are few secrets and no lies, only insights into the inner world of her partner of 50 years.

Oates writes movingly about the terror, depression and suicidal ruminations that dominated her existence in the months after Smith’s death…it’s impossible to be unmoved by Oates’ “Story,” by the degree to which she sees her husband everywhere she looks, as she finds beauty in the elusive notion of renewal.

A harrowing tale…

A brave, dark but slyly mordant memoir…Oates rages at the dying of the light of her life in this unflinching, generous portrait of the terror of emptiness.

A wildly unhinged, deeply intimate look at the eminent author’s “derangement of Widowhood.”...Oates writes with gut-wrenching honesty and spares no one in ripping the illusions off the face of death...Oates continues to keep her readers guessing at her next thrilling effort.

"As much a portrait of a unique marriage as a chronicle of grief...immensely moving…"

In 2008, after her husband is diagnosed with pneumonia and dies unexpectedly of a hospital-acquired infection, National Book Award winner Oates (Them) struggles to move forward and redefine her life without him. Oates's grief is palpable as she describes battling depression, insomnia, and impolite questions, but her strongest passages comprise her recollections of the time she spent with her late husband. Whatever sort of dark humor Oates attempts to achieve with her advice on how to be a "good widow," however, is not entirely successfully captured in actress/narrator Ellen Parker's treatment of the text. Still, fans of Joan Didion's The Year of Magical Thinking and/or Marilynne Robinson's Gilead are sure to savor. ["A worthy purchase that will be appreciated by readers of memoir generally and older readers especially," read the review of the Ecco hc, LJ 10/15/10.—Ed.]—Johannah Genett, Hennepin Cty. Lib., MN

A wildly unhinged, deeply intimate look at the eminent author's "derangement of Widowhood."

Oates's husband, Ontario Review co-founder Raymond J. Smith, a 78-year-old man in good health, was not supposed to die. In early 2008, he was admitted to the emergency room near their home in Princeton, N.J., and diagnosed with pneumonia. Then he developed complications from an bacterial infection and died of cardiac arrest on Feb. 18, 2008. The shock of losing her husband of 48 years nearly unraveled this author of countless novels, stories and essays, as well as a longtime professor of English at Princeton. In this surreal, nearly hallucinatory journey—she was referred to the Yellow Pages for a funeral home, soon became hooked on tranquilizers to overcome insomnia and often imagined a fiendish creature she calls a basilisk jeering at her—the author chronicles the painful first months of grief and emotional paralysis. Oates (Sourland, 2010, etc.) is a master at creating the interior-driven narrative, and fashions from her experience the character of the Widow—Mrs. Smith—distraught, vulnerable, helpless without the guidance of wise friends, susceptible to crippling regrets, prone to childish self-pity and even erupting in anger at a doctor who suggested that Ray just "gave up." She also invents the character of "JCO," the professor whom she had to "impersonate" at the university, the public self, the co-editor of theOntario Reviewwho had to inform their readers and writers that the literary review had to cease publication. Oates writes with gut-wrenching honesty and spares no one in ripping the illusions off the face of death—the relentless senders of "sympathy gift baskets" clotting her home like "party food," her husband who "threw away both our lives with [his] carelessness contracting a cold" and the friends and acquaintances who mouthed wooden responses.

Oates continues to keep her readers guessing at her next thrilling effort.