A topsy-turvy love story unfolds in a most unique way. The female protagonist, in a desperate attempt to make her lover acceptable to her upper-class father who disapproves of the match, exchanges her white skin with her husband/lover's black skin, with the help of a forest Shaman. This act sets the stage for a series of events that will change their lives forever.

The book is filled with thought-provoking quotes. One such quote is, "For the first time, I saw that the old Church was right and the Protestants and Plutonists were wrong - we are our bodies, and resurrection is the only answer." Eulalia, the father's lover, resurrected the narrator in a way that made them realize the exploitation that had occurred. Just as the boy had exploited the female protagonist's sexual innocence, bourgeois boredom, youthful idealism, and Brazilian romanticism, Eulalia had exploited the narrator's easily flattered civility, accustomed habits of cohabitation, and dependence on women. It was only when the narrator saw Eulalia attempt to seduce their eight-year-old daughter and fail clumsily that they began to awaken to the truth that love is a dream.

Another quote that stands out is, "How frightening, she thought, that one does not merely grow and enlarge one's experience, but one loses earlier selves. We move forward into darkness, and darkness closes behind." This highlights the idea that as we grow and change, we leave parts of ourselves behind, and the unknown future can be both exciting and terrifying.

Finally, the quote "Life robs us of ourselves, piece by small piece. What is eventually left is someone else" emphasizes the idea that life's experiences can slowly change us, and we may not even realize it until it's too late. We must be vigilant and take care of ourselves, or we may lose who we truly are.

Overall, this book offers a unique and captivating look at love, identity, and the human experience.

One can only envision how this book would be received if it were to be published in 2022. I perused an original book review that was published in the NYT subsequent to the release of this work, and it was critical, albeit only to a moderate extent. Needless to say, Updike manages to succeed in all the aspects that one would desire to avoid - namely, reinforcing racist and sexual stereotypes. He persistently plays into the trope of blackness as sexual deviance. Meanwhile, he is writing as a white suburban man in the 1980s about Brazilian characters and culture.

Consequently, it comes as no surprise that the book feels unconvincing, the plot lacks a clear direction, and the protagonists fail to undergo any significant character development. One is left wondering why Mr. Updike is so fixated on referring to the male organ as a yam while clumsily inserting sexual metaphors and similes to describe the most ordinary of behaviors - tears streaming down her cheeks like... semen. Really? In the end, one finds oneself extremely grateful that the narrative has come to an end. Yet, simultaneously, one is both bemused and confused as to what on earth the theme of this story was. Certainly not the classic Tristan and Iseult that has been cherished for generations.

While Mr. Updike has been able to capture the essence of mid-west quotidian Americana in numerous novels, his foray into a Brazilian novella feels contrived and more like artifice than true artistry. Although he may have spent a few weeks in Rio prior to commencing this novel, we suggest leaving the yams at home on this particular endeavor. -b

The story is very sensual, filled with elements that can both arouse strong emotions and bring a sense of excitement. It is also sometimes funny, with witty remarks and humorous situations that lighten the mood. However, it can also be scary, sending shivers down your spine with its thrilling and suspenseful moments.

On the other hand, it is romantic,描绘了 beautiful love stories and tender moments that touch the heart. At the same time, it is extremely realistic, presenting a vivid picture of the Brazilian culture, society, and people. Reading it, I experienced so many different feelings, from joy and excitement to fear and sadness.

Now, I am more curious than ever to visit Brazil and breathe the air rich of such passionate spirit and freedom, just like it is described in the book. I want to explore the vibrant cities, the beautiful beaches, and the lush rainforests. I want to meet the friendly people, taste the delicious food, and experience the unique culture. I believe that visiting Brazil will be an unforgettable adventure that will change my life forever.

John Updike: Ethics and Aesthetics of Adultery

John Updike's fiction is renowned for its exploration of adulterous heterosexual relationships. This review examines several of his novels and essays. Updike, along with Philip Roth and Saul Bellow, dominated mid-late 20th century American literature. However, their works have faced criticism for misogyny or chauvinism in recent times.

Updike's early novels, such as The Centaur and Marry Me, do not romanticize adultery. Even in the later somewhat romantic Brazil, the young lovers are unfaithful. His anti-romanticism is evident in his criticism of Hemingway. For Updike, truth in exploring extra-marital sex means being true to the role of carnal instinctiveness.

In Updike's adulterous world, the romantic is replaced by amour, and we experience a detailed, literary erotic of cheating bodies. But the pursuit of sexual ecstasy also provokes spiritual reflections on guilt and right and wrong. There is an aesthetic underpinning to this, as seen in his essays on Vargas Llosa and Saul Bellow. In Updike's novels, the aesthetic and ethical dimensions of sexual desire are simultaneous.

Updike's novels also contain much direct discussion about right and wrong, religion, and doubt. The characters in his novels question and reflect on morals, and ethicality is not found outside of materiality. In The Poorhouse Fair, the contrasting figures of Hook and Connor personify this. Hook is a religious and censorious character, while Connor is a humanist who attains spiritual knowledge through pain and ridicule.
When Updike's Couples was published, he was associated with the permissive Sixties. However, his novels of adultery are not about thoughtless "swingers." In Marry Me, Jerry and Sally are extremely conscious of right and wrong and are constantly making choices about their affair. Updike distanced himself from the commodified sexual liberation of the Sixties and claimed that there is a resurrectionary force in the commitment to adultery.
Later in life, Updike took up Barth's theology, and the idea of "sympathy" as the basis of faith. This interest may be related to Barth's own experience of facing a witch-hunt by the Church for his extra-marital relationship. Animism and Lawrentian tropes are also often present in Updike's novels, as seen in The Centaur and the Maples stories.
Updike's literary prose is compelling, despite the politically incorrect position he puts the reader in. He revels in the detail of the human world and its physical and natural contexts, and his prose is often pointillist and emotive-impressionist. Although his literary legacy may not be as a writer concerned with adultery, he is one of the great writers of novelistic prose. In the Bech novellas, his alter-ego Bech reflects on the process and aesthetics of writing and being a writer.