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Обучение в покорство

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Млада жена се премества в далечна страна на Север, някога родина на предците ѝ, в която понастоящем живее богатият ѝ и наскоро разведен брат. Идва при него, за да прави онова, което умее най-добре: да му слугува.

Далеч от всички в огромната му къща насред гората, съвсем сама, докато той отсъства по работа, сред тишината на величествената природа, тя наблюдава отдалеч малкия градец в долината и запълва времето си с мисли. Местните я гледат с подозрение. Чужденка е. Дошла е неканена. Всичко може да се очаква от нея.

Всеки неин опит да бъде добра в един лош и страшен свят завършва с провал. Всяко нейно действие се тълкува погрешно. Когато започват да се случват странни и злокобни събития � овца ражда мъртво агне, кравите полудяват и се налага да бъдат изтребени до крак � всички хвърлят вината върху нея.

„Обучени� в покорство� е един роман за жертви и палачи, за вината и неоправданите обвинения, за властта и покорството. И в крайна сметка за оцеляването.

144 pages, Paperback

First published July 6, 2023

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About the author

Sarah Bernstein

13books212followers
Sarah Bernstein is from Montreal, Quebec and lives in Scotland where she teaches at Edinburgh University. Her fiction, poetry and essays have appeared in tender, Contemporary Women’s Writing, MAP and Cumulus. Now Comes the Lightning, a collection of poems, was published by Pedlar Press in 2015.

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Displaying 1 - 30 of 2,245 reviews
Profile Image for Adina (notifications back, log out, clear cache) .
1,216 reviews4,938 followers
November 15, 2023
Also Winner of the Scotia Giller Prize 2023 (Canadian prize).
Update! Yes! So happy and surprised that it was just shortlisted to the Booker Pize 2023

Longlisted for the Booker prize 2023

Book 7/13 and the last I plan to read before the shortlist is announced in two days.

'The question of innocence is a complicated one' � Sarah Bernstein about the novel

Pfff. I am in such a confused state. It is my favourite novel from the ones that I’ve read from the longlist and I have no idea why. How can I share what I loved about Study for Obedience when I do not even know why. It is different from the others, is stands out both in themes and writing. It is a very strange novel, the writing is peculiar, sometimes impenetrable, meditative, meandering, sometimes darkly funny. There’s a lot of metafiction inside, which mostly passed me by. The very low rating probably reflects that and I do not think it is a novel that would appeal to everybody. Nevertheless, I thought it was extraordinary.

I will copy a bit of the synopsis from the Booker website � A woman moves from the place of her birth to a ‘remote northern country� to be housekeeper to her brother, whose wife has just left him. Soon after she arrives, a series of unfortunate events occurs: collective bovine hysteria; the death of a ewe and her nearly-born lamb; a local dog’s phantom pregnancy etc, She notices that the community’s suspicion about incomers in general seems to be directed particularly in her case. She feels their hostility growing. Inside the house, although she tends to her brother and his home with the utmost care and attention, he too begins to fall ill”�

The story is narrated from the point of view of the woman. From the beginning, she keeps pointing out her obedient character and her lack of own personality and ideas. She was born and raised to serve and she does her best to be the perfect carer also her brother. She bathes him, feeds him, dressed him and even administers homemade health remedies.

“I continued to spend the long years since childhood cultivating solitude, pursuing silence to its ever-receding horizon, a pursuit that demanded a particular quality of attention, a self-forgetfulness on my part that would enable me to bring to bear the most painstaking, the most careful consideration to the other, to treat the other as the worthiest object of contemplation. In this process, I would become reduced, diminished, ultimately I would become clarified, even cease to exist. I would be good. I would be all that had ever been asked of me.�

It soon becomes apparent that her narration cannot be trusted, that maybe she is not that innocent, that maybe she is not as obedient as she want us to believe. The author confessed she was reading a lot of Shirley Jackson at the time she wrote the novel and it does have a similar atmosphere, it could easily be classified as a bit of a folk-horror story.

It also a novel about xenophobia, and how easy we can start blaming or categorize strangers based on external factors or their culture. Yes, it is also a story about Jewish culture and its persecution, even the survivor guilt is mentioned.

Thirdly, it is a novel about language and its absence. Language is mentioned extensively in the novel. She has problems communicating with the locals because she does know the language, her job was to transcribe lawyer speeches, she mentions silence as a way to be obedient. The author pushes the boundaries of language with the narrative voice, it plays with it and the meaning of words.

Finally, it is a novel about the traditional role of women and the dangers of imposing it.

I will end my disorganised exposition with an extract from an interview with the author from the Booker Prize website, which explains better what the author tried to do with the novel:

“I was trying to think through what it might look like if certain (usually feminised) characteristics associated with passivity could take on a kind of power, especially over the people reinforcing those sorts of gendered norms. That idea comes from the painter Paula Rego � that obedience can, in a sense, also be murderous � it can be harmful to the person demanding obedience. I was also interested in the question of innocence and the really bizarre expectation that, in order for someone’s suffering to be recognised as legitimate, that person needs also to be innocent � whatever that means. The novel’s narrator is a character who has been disempowered and badly treated in a variety of ways and who has also abdicated moral responsibility in other areas of her life, so the question of innocence is a complicated one, for her as well as for us. The question of agency is I think also complicated by the narrator’s sense of her own fatedness � her sense of living in a cycle of history she can’t work her way out of. �

I received an arc of this book from Netgalley and the publishers in exchange for an honest review
Profile Image for Candi.
689 reviews5,307 followers
November 11, 2023
This is a book for readers that enjoy allegory and metaphor. It’s a book to be dissected and analyzed in a literature course. Sarah Bernstein could not have intended for this to reach a wider audience. In so doing, however, her point will be missed by those who might need to hear it the most. That’s her prerogative, of course. My prerogative as a reader and an unpaid reviewer on this wonky website is to say that this didn’t really appeal to me. Bernstein writes intellectually, while I crave a mix of the cerebral with a bit of heart. I wanted to feel the pain of history and trauma deep inside me. Unfortunately, I spent too much of my time trying to crack through the layers of this for the deeper meaning. It was an academic exercise versus a visceral reading experience for me.

“Where to begin. I can it is true shed light on my actions only, and even then it is a weak and intermittent one.�

I knew I was in the hands of an unreliable narrator from the start. An unreliable narrator is either a stone in my shoe or a gift from the literary gods. It can go either way for me. An unreliable narrator combined with opaque writing makes me tired and cranky. But I plowed through, thanks to the fact I had two buddies along for the ride. If not, I very likely would have set this aside for the time being. The reader is completely in the head of the narrator throughout. There is little to no dialogue. I wish there had been a bit more. Of course, the lack of dialogue emphasized the isolation of the narrator who has gone to the place of her ancestors in order to help her brother, who has recently been abandoned by his wife and children. He’s an asshole. His actions and abuse of power, combined with the submissive nature of the narrator, and the ostracism inflicted by the townspeople are what make this the study for obedience as indicated by the title. When her brother goes away for a period of time, the narrator is forced to handle her precarious situation on her own. A transformation begins.

“In the days and weeks that followed my brother’s departure, something in me quietened. It was as if I had been living my life against the backdrop of a roaring noise that I had not known was there and that had ceased suddenly and absolutely. My perceptions turned outward.�

This is an unsettling story when it comes down to it. There are weird happenings in the town related to livestock. There’s the super creepy relationship between brother and sister. And there’s the behavior of the characters that reveal the intolerance and bigotry towards others. Our narrator too is not all that she seems. I’m not even getting into the core of the story and its themes, because I believe if a reader is so inclined to pick this up, he or she needs to chip away to reveal his or her own truth. To be honest, I think this would have worked a whole lot better for me in short story form. It brought to mind some of Shirley Jackson’s short stories (that work very well for me compared to some of her novels.) I often found myself going in circles, the narrator’s thoughts coming back to the same points repeatedly (as is naturally the case when in someone’s head), and wanting to take frequent breaks from this. I believe I came to understand the author’s intent, but I have to say I didn’t have a whole lot of fun getting there. Ultimately, my heart was left cold while I crave warmth.

Thanks to my buddies whose lively banter kept me going! I don’t know who I can recommend this to. Just as with my own cozy little group, this novel will be polarizing. Check out their thoughts!: Markus and Pedro

“I thought often about life and its chance encounters, the inexorable question of complicity, about how not one of us could claim to be innocent any longer.�
Profile Image for Meike.
Author1 book4,396 followers
November 19, 2023
Shortlisted for the Booker Prize 2023
Listen, I get VERY skeptical when a text is compared to Kafka's work, because in my not-so-humble opinion, Franz Fucking Kafka is the best German-language author who has ever graced the world with his ideas, thank you very much (yes, you heard that right, Wolle Goethe). But while Bernstein of course cannot touch the master for whom an eternal light is shining in the cathedral of my heart, I understand why people see a connection between the Canadian poet and Franzel the Great: Bernstein finds abysmally dark and haunting images to illustrate the absurd nature of humankind, and her protagonist is so psychologically deformed by what has been written into her, so the character she has developed under internal and external pressure, that the almost non-existent plot still reads like a horror story about a woman whose brain has been poisoned by internalized cruelty.

Our narrator and protagonist, an unnamed Jewish woman, has learnt all her life that her worth is measured by the title-giving obedience, that she as a woman is a projection surface and tool for the comfort of others. Now, as an adult, she moves to live with her recently divorced brother, who resides in an unnamed country that was involved in the Holocaust (it's probably Romania, because we do have the mythical sheepdog, but it's a Carpathian one). The family used to live at the place before the terrible events that are never specified happened, and now the protagonist is ostracized by a society whose language she doesn't speak, no matter her roots. When the brother comes back from traveling, he falls ill...

This novella heavily relies on atmosphere, partly to its detriment, because it tends to be very descriptive and to meander off into different directions. What I applaud though is that this text is daring, not only in its scenes, but also when it comes to the language: To me, it felt like a translated text, like the rhythm the words develop is not that of English - and I mean that as a compliment, because the effect isn't that of clumsiness, but of alienation, of looking through a lense, and this underlines the message, namely that we encounter a narrator that struggles with internalized hate and sees the world through a specific veil, often tending to accept cruelty because there is no energy, no self-love left to resist: She does not "live in her life". She has disappeared, been murdered from the inside, struck by "permanent although latent terror".

Bernstein also delivers some brutal lines with immense power. Take this one sentence horror story, for example: "I recalled my own aborted attempts at intimacy, with men, with women, and all that I had ever come away with was a sense of my essential interchangeability." - welcome to the pits of hell. Or this one, reminding me of my favorite Kafka story, : "I was caught in the machinery of certain manias and maladies, the engines of their compulsory performace urging me on." - wow, just wow.

Still, I was overall bothered by the author's tendency to meander and the long descriptive passages, which throw off the pacing. I'm happy this one got nominated though, because it has drive and unusual ideas, two things that most of this Booker longlist have been tragically lacking.

You can lisen to our discussion on the podcast (in German) here:
Profile Image for elle.
362 reviews16.8k followers
October 16, 2024
the booker longlist is out for 2024 so i'm...going through the 2023 shortlist, which is totally logical and totally fine.
Profile Image for Pedro.
226 reviews645 followers
October 12, 2023
Unreliable narrators, just like unreliable people, always give me a massive headache.

Writers who know their grammar but can’t tell a story always give me the shivers.

Books that make me feel stupid really upset my stomach.

And every time I waste time with pretentious stuff like this, my belly just starts rumbling and I have to run to the toilet.

Now, where the hell did I leave the bloody painkillers??

Profile Image for Alwynne.
852 reviews1,330 followers
April 13, 2023
Novelist, poet and academic Sarah Bernstein’s latest book shares many of the concerns explored in her first The Coming Bad Days, both are infused with a feeling of overwhelming dread featuring stories in which isolated women struggle to make sense of their existence against the backdrop of a world that’s rapidly falling apart. Bernstein’s debut novel was labelled as minimalist, in common with writers like Amina Cain, her writing was seen as representative of trends common to the work of many millennial authors � unnamed narrators, hazy plots, a timelessness and gravity of tone. This piece is similarly serious, distanced and detached in tone, narrated by yet another nameless woman but it’s also more austere and far more disciplined.

Bernstein was initially inspired by a visit to an exhibition of Paula Rego’s artworks, surreal, rooted in fairy tale, but also in histories of oppressed women, Rego’s women are shown to be both obedient and murderous. Obedience is fundamental to Bernstein’s narrator’s view of herself and how she moves through space. Brought up in a large family, from a young age she recounts how she was quickly made aware of her outsider-ness, her position as carer and scapegoat for her siblings. A status she now seemingly embraces, has even transformed into an art.

The narrator appears to be confessing or bearing witness to mysterious events in her own life producing a narrative that sometimes reads like an extract from a Freudian case study but also explicitly draws on Kafka, Ingeborg Bachmann, and Samuel Beckett. After years of self-effacement and marginalisation she’s moved to serve as a kind of housekeeper for her wealthy, successful brother. Recently divorced, he now lives alone in a far-off country, it’s never clear where exactly but there are references to Europe - particularly Switzerland and Romania - and to the darker aspects of European history. It’s remote yet not shielded from the reaches of capitalism’s particular form of blight. The brother’s mansion stands alone on the edges of a small village, where their family ancestors were once killed � although nothing’s ever clearly stated in the narrator’s account, which is riddled with gaps and deliberate omissions, everything has to be gleaned from hints and brief references. It seems that the narrator’s Jewish and her ancestors most likely lie in a pit somewhere across the land close to the house, victims of the Holocaust or of pogroms or both.

The legacy of mass annihilation seems to be manifested in the narrator’s own interest in self-annihilation, which she strives to achieve on a daily basis through self-effacement and devotion to the needs of her family rather than herself. And rather like Simone Weil � whose work also surfaces here � she has a troubled relationship with her embodied self, but through a carefully-honed, personal philosophy of sacrifice, or martyrdom, professes to be attempting to reach some form of the ‘good.� But when her brother goes on an extended business trip the narrator is unable to assume a suitable role in the community. She can’t speak the local language and the villagers seem increasingly threatening, particularly as her arrival coincides with the onset of a spate of ill-omened happenings. The possibility of collective scapegoating fits with the narrator’s self-perception but also stirs an awareness of the possibility of refusal, beginning with small forms of subversion first manifested in the strange, woven figures she secrets into the village at night-time. As time passes there are further sinister occurrences, but slowly it seems the narrator appears to be the one finally taking control.

It’s a challenging, unsettling, slippery novel which delves into the trauma of survival, the legacy of history, fascism, and the impact of denying the past, but it’s also an ambitious, complex exploration of issues around women and various instances of familial and cultural repression. I found it deeply compelling but equally dense and elliptical, a novel I will definitely need to revisit.

Thanks to Netgalley and publisher Granta for an ARC

Profile Image for Mark  Porton.
562 reviews691 followers
October 21, 2023
This is perhaps the most thought-provoking read for me this year. A story involving our narrator, the youngest of a bunch of siblings. Siblings she has been trained to serve and satisfy their every whim. She moves to a ‘Northern Country�, to live with her eldest brother, recently separated. To a country she doesn't know the language. The home of her ancestors. We’re not told explicitly, but we’re lead to believe her ancestors were driven from this land. Hated. In fact , our narrator is frowned upon by the locals, ignored and ostracised too � as her ancestors may have been. She is isolated. This is bleak, dark, and a bit frightening. There’s also some bat shit crazy stuff here that is a bit unsettling, not only because it’s hard to find meaning in them, but because these occurrences border on farcical. Enter the three legged dog Bert the other dog with a phantom pregnancy and a weird owner (putting it mildly), the dead new born piglets with ‘oh so smooth� skin, the little dolls made of sticks � and more. I’m not sure our narrator is unreliable as such. She’s unhappy, alone, deprived and self-loathing, and a bit mad, to be sure. But unreliable? I’m not sure (Note: I have since learned more about unreliable narrators - see thread below - comments with Lisa). There’s references to Jewish life in Hitler’s Germany, only one or two � but enough to perhaps draw the parallel of this woman’s experiences to those who were persecuted by the Nazis in Hitler’s Germany. Is this ‘Northern Country� Germany? We never find out. Does it really matter? As the feelings here experienced by the narrator � could be experienced by anyone. Someone with a stutter, a disability, a black person, or a Muslim. Anyone who may be seen as different from the collective.

This is a must re-read. This is a wonderful book.

Many thanks to Canders and Pedro for this Buddy Read.

5 Stars
Profile Image for Paul Fulcher.
Author2 books1,774 followers
January 29, 2025
Winner of the Giller Prize
Shortlisted for the Booker Prize


Sarah Bernstein’s Study for Obedience comes with two epigraphs which serve as lodestones for an intriguing and impressive work.

The first, which she has acknowledged as inspiring the novel, is from Paula Rego:

I can turn the tables and do as I want. I can make women stronger. I can make them obedient and murderous at the same time.


This is a much quoted line, whose earliest reference seems to be an article ‘St. Paula� by Marianne MacDonald in 1998 which includes an previous line ‘I can make it so that women are stronger than men in the pictures�.

Bernstein herself saw the quote at a retrospective of the artist’s work in Edinburgh entitled . For me this quote is encapsulated in the work of Rego I know best, The Family (whose working title was The Raising of Lazarus):

description

The narrator’s own self introduction in the novel’s opening pages strongly suggests obedience but as the novel progresses we see this can transmute into a form of control, particularly over her seemingly dominant brother:

Where to begin. I can it is true shed light on my actions only, and even then it is a weak and intermittent one. I was the youngest child, the youngest of many � more than I care to remember � whom I tended from my earliest infancy, before, indeed, I had the power of speech myself and although my motor skills were by then scarcely developed, these, my many siblings, were put in my charge. I attended to their every desire, smoothed away the slightest discomfort with perfect obedience, with the highest degree of devotion, so that over time their desires became mine, so that I came to anticipate wants not yet articulated, perhaps not even yet imagined, providing my siblings with the greatest possible succour, filling them up only so they could demand more, always more, demands to which I acceded with alacrity and discreet haste ministering the complex creative draughts prescribed to them by various doctors, serving their meals and snacks, their cigarettes and aperitifs, their nightcaps and bedside glasses of milk. Of our parents I will say nothing, not yet, no. I continued to spend the long years since childhood cultivating solitude, pursuing silence to its ever-receding horizon, a pursuit that demanded a particular quality of attention, a self-forgetfulness on my part that would enable me to bring to bear the most painstaking, the most careful consideration to the other, to treat the other as the worthiest object of contemplation. In this process, I would become reduced, diminished, ultimately I would become clarified, even cease to exist. I would be good. I would be all that had ever been asked of me.

The second quote is from Philip Boehm’s translation of Ingeborg Bachmann’s novel Malina, a novel I often describe as pre-Bernhardian (my review) as she was a key influence on Thomas Bernhard.

[I will tell you a terrible secret:] language is punishment. Language must encompass all things and in it all things must again transpire according to guilt and the degree of guilt.


And it was interesting to see the Booker judges also make the link to Bernhard when explaining their choice of the novel: "The humour here is dry as a bone, very Bernhard-esque; it is obliquely and surprisingly funny."

Malina is one of a number of literary works that are indirectly referenced in the novel itself, including Simone Weil’s Gravity and Grace (tr. Emma Crawford and Mario von der Ruhr) and two novels by Marie Ndiaye (tr. Jordan Stump). What holds these works together with this is well explained by Daisy Lafarge in about the inspiration for her own novel Paul, and which refers to Bernstein’s previous novel The Coming Bad Days and which links them using a term coined by Elena Ferrante:

Meeting sufferers of frantumaglia in fiction doesn’t guarantee pleasurable reading. A warm, palpable sense of self does not waft off the page to greet you, like a friend or familiar scent. These characters might seem underdeveloped, cold, aloof, not fully fleshed-out, unable to offer the reader a straightforward account of themselves. They might be described as unreliable, complex, neurotic, frustrating, unlikeable. They are often—but not exclusively—poor, neurodivergent, queer, women, people of color. They have often—but not necessarily—experienced trauma. Some might try to dissociate out of their own plotlines. Their incoherence is not the result of being poorly written, but because they exist in a troubled relation to what it means to feel real.


The narrator here refers to the same issue with respect to others reaction to her own personality:

I had learned over the course of my life that there was something unpleasant about this opaque kind of inwardness: at any rate, the people, among whom I was weird, demanded, legibility � if there was one thing they could not stand, it was the obscure, they were not a people, much interested in the pursuit of meaning. They liked constancy.

There is so much more that could be said on this novel. I loved the way the apparently timeless setting with relatively archaic practices jarring with the brother’s narrator conducting his work on Teams meetings, and indeterminate setting. And the links to the past of the narrator’s own people and the collective guilt/hostility of the locals for the holocaust wrought on her ancestors - a particularly devastating line is when she recognised that, despite this history, the people of the area are represent he closest thing to an inheritance I could be said to have).

This isn’t an easy read but that’s what makes it a great novel - indeed the author’s current research topic is on literary difficulty and the common good.

A great selection by the Booker panel and one I would love to see win.

Review postscript

I immediately reread the novel on finishing. On a second reading I could focus on the minor themes and the sentences which are exquisite.

A small example of the former - the list of pastoral tasks for which the narrator could volunteer which begins “milking, feeding, walking, shearing, grading�.� and ends jarringly and symbolically “mucking out and transporting to slaughter�.

And the prose - this perhaps the pivotal paragraph when the narrator moves beyond mere obedience to agency:

Here, I thought, as I made my slow way home, my fingers stained by the new, fresh berries, here was what came to the surface after so many throes and convulsions. Soon we would no longer need to withdraw to the desert for a space of contemplation and self-abnegation, Soon, personal ascesis would arrive in the form of one more letter, one more mass mortality event, one more migration stopped by total annihilation. Nature and well-being, the Home Office, any number of crooks and lowlifes. I wanted to be good in the terrible world. I thought of the birds. I accumulated fidelities in this space of diminishing returns. On the one hand, I felt that my obedience had been rewarded at last. On the other, in this cold and beautiful countryside, I feared I was living a life which I had done nothing to earn and I felt sure of some swift and terrible retribution. As I bit into the last strawberry, I began to weep because language, I felt, was no longer at our disposal, because there was nothing in the word that we could use. Nothing settled in place.
Profile Image for Doug.
2,424 reviews835 followers
September 14, 2023
2.5 rounded up.

#3 of the 2023 Booker longlist for me.

Rather odd that there are fewer than 100 ratings and less than two dozen reviews of this here, even after making the Booker longlist. It's a short and enigmatic book, with long, elliptical, meandering sentences that are often difficult to parse (my literary bête noire). Once past the second chapter, these became less annoying and more understandable, even if much of the book remains elusive.

Suffice it to say it's a fable about an unnamed narrator journeying to a northern land, whose language she neither speaks nor understands, to take care of her eldest brother, and being subjected to ostracism by the local townsfolk; there are strong hints that this is due to antisemitism, and the protagonist's acceptance of her 'otherness' in a Christian community seems to bear witness to that fact also. I have a feeling this will be one of the more polarizing books on the list, and will be catnip for a certain type of esoteric reader - but I am NOT that person. Although I can appreciate what Bernstein is doing here, I would say I admired rather than enjoyed reading it.
Profile Image for CanadianReader.
1,229 reviews151 followers
October 13, 2023
Not a review but a reaction:

The prose is occasionally intelligible. More often, it is excruciatingly pretentious and torturously longwinded—painful, like fingernails slowly grating across a chalk board. Meaning gets lost in excess verbiage. Bernstein obviously loves her thesaurus. I found the discordance of the writing to be a kind of (anti)aesthetic assault. If a thing of beauty is a joy forever, what is a thing of ugliness?

Take this, for example:

In spite of all this, all these efforts, I felt radiating from the landscape, surely as ever now, the anger of the townspeople, who after all could not help but think historically, and who, having been in a sense exiled from the modern world to their own home town, a town like any other, whose people had behaved like those in any other, who thus understood the need for roots, whose continued existence depended on this understanding, depended in fact on the pact of silence, on groping, blindly, for the future, saw me as nothing more than a stranger of a fixed, old age, who had appeared out of nowhere to herald, perhaps even bring about, a truly inauspicious time.

Or this:

I had learned much on the subject of silence, about its uses, from my brother, whose expert modulation of speech and silence, the interval between the two which could not quite be called conversation, which I often thought must be a space of transcendence, of mutual annulment, communicated as much if not more of his mood, of his tastes, of his dissatisfaction, than either of the two polarities.

Here’s an idea for the author: rewrite your text in controlled, coherent prose. What would this novel read like if the prose weren’t so bizarrely stilted? I pity the poor future translator.

This is a claustrophobic and oppressive novel which seems much longer than its page count. A bizarre creation or some sort of weird joke? An experiment on the part of the author to see how gullible the reading public or book-prize judges might be? It is just so completely over the top. For some reason, I kept thinking of the old Saturday Night Live spoof on Jane Campion’s ever-so-artsy The Piano . . . The Washing Machine. This book just begs to be parodied. How about a film adaptation?!

Can’t say I saw the point of it (beyond the obvious). I have got to believe there were books so much more deserving of nomination for a prize than this. How did this elbow out other submissions? As I approached the longed-for conclusion, I figured there was a very good chance that the author was in fact insane or very close to it..

If any one of us submitted a piece like this to a publisher, it would certainly be rejected and rightly so. It’s one of worst long-list titles I’ve ever encountered.

As another reviewer remarked: avoid books with images of dead birds on the cover.
Profile Image for Dave Schaafsma.
Author6 books32k followers
January 30, 2024
“I try always to be good.�

A Study for Obedience is the second novel from Sarah Bernstein and longlisted for the Man Booker Prize of 2023. It’s my second Booker 2023 read of the year, though I also read the already awarded International Booker Prize of 2023, Time Shelter by Georgi Gospodinov. Obedience is a strange, eerie book, featuring a young woman who has traveled to a country to care for her elder brother, who has lost his wife and children.

The woman’s ancestors are from this country, but she can’t speak the language, she just can’t master it, in spite of the fact that she knows many languages. The youngest in her family, she was raised to dutifully serve her elder siblings, and this mode becomes the central force guidingher life. She has worked in a law office (there’s an echo of Bartleby here, but more pointed perhaps as she is woman serving men). Her brother is a very orderly, disciplined, rational male, unemotional, requiring order of his sister (servant). She tries hard to be like him, to honor him, but:

“I had never been able to live in my life.�

When the unnamed) woman arrives in town, things seem to happen that she gets blamed for: A pregnant ewe, caught in the fence; dead piglets; a potato blight; a pregnant dog--an immaculate/demonic origin, as her own dog is neutered?-- and mad cows that need to be slaughtered. The implication is that she is perceived by the town as a witch. And she sees it herself, would willingly confess it could she speak to them, she's so consistently apologetic.

�. . . it seemed that my obedience had taken on a kind of mysterious power.�

And she is strange; she watches the grass grow, she says. She is referred to as a “spectral presence.� She leaves totems/talismans made of grasses at the doorsteps of townspeople (intended as a gift, a token of friendship?). She says she wants to be like ice. She wonders about the lives of cabbages. She takes a pinch of salt and tosses it over her shoulder, to the horror of others.

And why can’t she learn the language? Is she a madwoman? Autistic? (I wonder about all the undiagnosed neurodiverse people throughout history who might have been seen as mad, possessed, and so on, bullied and tormented for their differences). She’s an outsider, an “incomer� that will never be accepted, so there’s the allusion to refugee stories, too.

There’s an interesting addendum to this book--references to related books, not actual quotations, most of them feminist, from Virginia Woolf, Penelope Fitzgerald, Susan Sontag, Simone Weil, Lucille Clifton. In a way, these voices populate the story, bolster it, frame it. So it can be viewed as a feminist allegory. She’s passive, obedient, docile, quiet, never evolving out of the servant role her family gave her. She’s alienated, silenced, self-blaming at every turn. Language gets turned on her.

She is “a perfect specimen of bare life.�

I was reminded of the tone of the Vesaas story of two intensely quiet girls, The Ice Palace (where a girl lies face down looking through the ice on a lake, at the trapped nearly frozen life underneath, which this woman also does), The Birds, The Yellow Wallpaper, Handmaid’s Tale.

Maybe her epigraph is a key to it all, from Paula Rego on her own work � “I can turn the tables and do as I want. I can make women stronger, I can make them obedient and murderous at the same time.�

I need to read this a second time to unearth more of what is going on here, but it is for me a five star book, one of the best of the year, a book many will dislike for its weird detachment and maybe even for its feminist allegorical approach (as in, is the brother ultimately more than The Male?).

Yeah, not many ŷ readers seem to like this book, but like the woman herself, it holds a strange, eerie power. Muted, subtle, uncanny, allegorical, language rich, a means for us to reflect on language, silence, men/women. I recommend it, for sure!
Profile Image for Lark Benobi.
Author1 book3,462 followers
December 12, 2023
Wow. Here is proof that when a writer follows a voice, and trusts that voice, and allows that voice to tell its story, something uniquely beautiful (and incomprehensibly true) can happen. How does this novel work? I don't care. It does.
Profile Image for switterbug (Betsey).
907 reviews1,359 followers
September 25, 2023
I’m Jewish; I’m familiar with direct and indirect indignities foisted on my tribe. The unnamed narrator is a master of obedience, a side effect of her upbringing, perhaps a perverse protection from antisemitism. What she ultimately does with her traumatic childhood and history of sustained victimization by others--and now scapegoated by an entire town, is riveting. At no time did I feel myself wandering away from the story, despite her penchant for Pynchonian dependent clauses (hers are lyrical rather than baroque). The protagonist is too compelling to ignore.

Is it paranoia if everyone hates you? Bernstein uses already cultivated symbols and similes to subversive effect. It's another way of looking at the biggest crimes against Jews and moreover how it looks when the victims traumatize their own children in other ways.

The unnamed narrator, who cannot speak the language of the northern country that formerly persecuted her people, where she went to take care of her brother after he was left by his wife, speaks to us with fierce clarity, beyond the silence imposed by a language barrier. Look under and behind her words for more understanding. “In silence, yes, for words have more than once led us away from the truth.� Her voice captivated me, which never wavers. It just gets stronger over time.

A woman, once a journalist, highly educated but now doing a mundane audio typist job for a firm who is ravaging the planet, comes to stay with her successful, wealthy brother, to take care of him and his enormous house in this rural area. He soon takes off on a business trip, and she is at the mercy of the superstitious townspeople, who blame her for the death of farm animals, a phantom dog pregnancy, and other unfortunate events, usually to do with animals.

Instances that seem generally innocent to her are viewed as provocative by these village-like townsfolk. She is scapegoated, a position she has found herself in before. She has no allies here; her brother is gone, and despite the age of cell phones and social media, he doesn’t seem to communicate with her while gone. When she comes face-to-face with these people, she finds them unreadable, but menacing. Isolation doesn’t protect her; they find a way to debase her without using words. “What was underneath it all, vibrating beneath the faces of the people I saw, something in their expressions?�

What she has gleaned from living here is that these people kept “beliefs one needed to hold about oneself, stories one told oneself in order to live, to go on living with oneself, knowing what one was capable of, knowing the things one had witnessed, the things one had done.� Some things she says obliquely, but for good reason. Even through times she was (seemingly) opaque, more is yet revealed.

While I was reading, I thought of literature that had a similar atmosphere or voice, such as Philippe Claudel’s Brodeck; the movie (original one with Dustin Hoffman) Straw Dogs (not literature but it was literary); and Orwell’s Animal Farm; and Shirley Jackson. Of course, it is none of those, but this epigraph written by painter Paula Rego that Bernstein used sent shivers down my spine:

“I can turn the tables and do what I want, I can make women stronger. I can make them murderous and obedient at the same time.�

I anticipate that every reviewer will mention this, for good reason. It’s not about the narrator’s intentions; however, it does advance the paradox of weaponizing obedience after a lifetime of it. Can one’s lifetime of being a scapegoat be fortified to turn the tables? After all, we are Jews, are we not? Some of us? Just 2% of the world, which is less people than the dogmatist formerly known as Kanye West has followers on Instagram.

This may be my #1 book of the year. It has made the Booker shortlist, and it is deserving. If it hadn’t been nominated (I bought it before the longlist came out), I would have called this a sleeper, a gem of an understated novel of ideas and events. Bernstein’s prose is elegant, beautiful, tragic, sizzling. You can read this short novel over and over again and keep getting more out of it.

Bigotry, obedience, exile, complicity, silence—both enforced and by choice—deviance, and identity are some of the big themes in this book.

“So much was refused in advance. So much transpired on a scale of time and space that was longer than a lifetime, wider than a country, vaster than the story of the exile of a single people. And bigger still.�
Profile Image for Flo.
439 reviews376 followers
September 21, 2023
Now shortlisted for Booker Prize 2023 - So happy that the haters didn't win. It is my second favorite from the shortlist.

Top 3 Booker 2023

That rare book that was so obscure that I didn't know what I was actually reading, but I never doubted it. There was an Ottessa Moshfegh feeling (the cover made me think of Lapvona), but it was too minimalist to disturb or entertain me in that way. Nevertheless, the writing is there, and it is refreshing for a book not to have a clear theme.
Profile Image for Maxwell.
1,356 reviews11.4k followers
September 26, 2023
This book feels brilliant and I am just not smart enough to get it on a first reading. I definitely think it would reward revisiting, I just don't feel like doing so at this time. But it's short, so maybe someday I will and I can see more of the threads of what she is doing here. On a sentence level, I was baffled and amazed by the writing. It's complex and demands attention but is also very rewarding and satisfying to read. The plot was minimal and the ending was confounding (it gave me vibes at times). I need to keep thinking about this one and can't wait for our book club to read it to hopefully give me more insight!
Profile Image for Krista.
1,469 reviews821 followers
August 23, 2023
I wanted to be good in the terrible world. I thought of the birds. I accumulated fidelities in this space of diminishing returns. On the one hand, I felt that my obedience had been rewarded at last. On the other, in this cold and beautiful countryside, I feared I was living a life which I had done nothing to earn and I felt sure of some swift and terrible retribution. As I bit into the last strawberry, I began to weep because language, I felt, was no longer at our disposal, because there was nothing in the word that we could use. Nothing settled in place.

The title of hearkens to the world of painting, and as it has been widely noted that author Sarah Bernstein had been inspired by a retrospective of feminist painter Paula Rego’s work (even using Rego’s words as an epigraph: I can turn the tables and do as I want. I can make women stronger. I can make them obedient and murderous at the same time.), it should come as no surprise that Bernstein’s novel comes across as painterly. Impressionistic and pointillist, showcasing tone and technique over overt subject matter, Bernstein nonetheless masterfully explores notions of guilt and innocence, language and belonging, history and destiny, and the complicity of those who claim to have been simply following orders. A Gothic rural horror that reads like a mashup of Max Porter and Shirley Jackson, I experienced this viscerally � not really knowing if Bernstein was giving us a modern fairytale until late references to reality recall horror beyond anything the Brothers Grimm imagined. I loved every bit of this experience � even if, perhaps especially if, I had to work to make meaning � and I will absolutely read the author again. (And speaking of paintings: Why does this cover look like someone killed Donna Tartt’s Goldfinch?) Slightly spoilery from here (I knew nothing going in and would recommend the same to other readers). The novel opens:

It was the year the sow eradicated her piglets. It was a swift and menacing time. One of the local dogs was having a phantom pregnancy. Things were leaving one place and showing up in another. It was springtime when I arrived in the country, an east wind blowing, an uncanny wind as it turned out. Certain things began to arise. The pigs came later though not much, and even if I had only recently arrived, had no livestock-caretaking responsibilities, had only been in to look, safely on one side of the electric fence, I knew they were right to hold me responsible. But all that as I said came later.

An unnamed woman relocates to an unnamed “northern country� � the place from whence her ancestors hailed � in order to act as housekeeper for her eldest brother: a very wealthy businessman, recently divorced, who has bought and renovated an impressive manor house on the edge of a small village. The entire novel is an interior monologue from this woman’s POV, and while it might not be quite correct to call her an unreliable narrator, it’s clear that we are getting only her version of events. She tells us early that she is the youngest child in her family, that she has more siblings than she would care to count, and while they had all trained her in servitude and obedience, this eldest brother, in particular, has made it his mission throughout her life to stamp out the woman’s personal thoughts and desires.

As she cheerfully does chores for her brother � chopping wood (for ambience in the centrally-heated home), the daily shopping, the cooking and cleaning � she realises that she’s being shunned by the locals (whose language, not incidentally, she’s unable to pick up): as she walks through town, parents shield their children; diners at the local cafe hook their fingers in the sign of the cross at the sight of her; and when she volunteers at the local farm, she is sent a message to muck out the stalls and avoid all contact with people and animals. Strange events begin to occur � and the woman finds herself under suspicion � and it’s hard to tell if they distrust her because she’s woman, or if they suspect that she’s a witch, or if there is some other, more insidious, prejudice at play (it doesn’t help things that the woman likes to twist reeds into human shapes and leave them on folks� doorsteps in the middle of the night).

This is a short book with long paragraphs (running into pages), and while I savoured the language, it’s hard to excerpt passages that give the full flavour. I was often amused, as when we learn the the woman bathes and dresses her brother in the course of her duties � soaping his back and “executing Indian head massages� � and when he becomes listless, and after watching a documentary on horses, the woman decides to purchase some appropriate curry combs in order to restore her brother:

I walked around the shop perusing the impressively thorough selection of brushes on offer, ranging in size from the infinitesimal � designed, I reasoned, to brush the teeth of a cat � this perhaps to smooth the skating rink erected on the town's lake each winter. Somewhere in the middle of these two (for the tools were arranged by size) I found three brushes roughly adequate to the dimensions of my brother, that could provide coverage and relief to his longest flank as well to his littlest fingers.

(I hope that comes across as absurdly funny as I found it to be.) This next point is the slight spoiler of which I warned: There is also a real sense of dread and horror in the storyline. I would not have been surprised if it turned out that the woman was a ghost or a vampire (because of the way the townsfolk reacted and because she mentions that she’s always been repulsed by the idea of entering a church), but through hints and feints, we eventually learn that she is Jewish and that her family had escaped the area in the last century. Which, to the townspeople, makes her a kind of zombie: They thought she and her people were dead and gone, and here she is, risen from the ashes of history to confront them with their past:

He could easily understand the people of the town, he told me one golden summer evening, as we sat looking out on to the garden, their attitudes then, their attitudes now, how they felt they had got a raw deal, had been cut off from fortune by some accident of fate, merely because what at a certain point they and their forebears had called efficiency the rest of the world had, in stages, and one by one, rather like dominoes falling against one another in a tidy sequence until they found themselves all together in a heap, until everything came to an end, determined to be acts of barbarism. And how many of those claiming to be upright had agreed that none was too many? And how many of them in truth, in their heart of hearts, could say they were not guilty? What after all was the difference between thought and deed? Was it a question of scale, or systemisation? What about the pit parties? What about the dogs?

So, back to the title: There’s the idea of obedient soldiers simply “following orders� as they committed atrocities, but there’s also the idea of women like our main character subdued into obedience, made monstrous in response. What was the purpose of the reed figures that scared everyone so? Why did the brother’s health start to decline under her care? The unnamed country could easily have contained a dense forest with a witch living in a candy house at its heart, and who could blame folks for shunning her? This was unsettling, and this was art; just to my tastes.
Profile Image for Roman Clodia.
2,765 reviews4,228 followers
September 12, 2023
In this process, I would become reduced, diminished, ultimately I would become clarified, even cease to exist. I would be good. I would be all that had ever been asked of me.

What a slippery and enigmatic text this is! There's so much going on here: initially I was thinking of the mutedness and 'obedience' that conventional gendered ideologies make inhere in the concept of femininity, as well as the alienation of someone dispossessed in the modern world. However, the examples of the pig killing her offspring, and the female frog swallowing a smaller male frog whole (and alive!) are testaments to the way this undermines any kind of easy gender dichotomy, showing a sense of the cruelty that may emerge when an entity is forced into a narrow state of being.

But, as the book develops, there's a submerged and increasingly potent strand which appears to be thinking about Jewish identity and, again, the Holocaust. The setting of the story is left deliberately vague but mentions of pogroms, burnings, smashed windows, even the way the narrator is expected to have an almost laughably stereotypical affinity with money and finances are strong hints even before we get to this:
So here it all was at last. I had come to this place, whence my ancestors had fled, out of what I recognised at last as an unkillable longing for self-annihilation, no more than I felt I deserved and, moreover, what I felt had been meant for me [...] And here I was meeting history at last, proof that my deference, anyone's deference, was the surest and swiftest route to one's own eradication. It would be total.

It's a surprising and oblique way of thinking again about generational and racial/ethnic trauma, picking up on the idea, always challenged and increasingly so by modern historians, that Jews largely didn't resist Nazi and other programmes of oppression and violence. This book draws subtle parallels between ideas of gendered and politicised obedience, and explores how dangerous, even deadly, these concepts may be, wielded as weapons by dominant classes, and passed down through generations:
... the fundamental question that I pose now, that has been posed before and elsewhere, more or less word for word, here it is, my brother, prepare yourself, is whether one can go on living after all, whether one who escaped by accident, one who by rights should have been killed, may go on living.

The book ultimately can't be pinned down to a single interpretation and the scale and reach of intertexts (some of which are noted at the end) make this part of a nexus of other works: I was strongly reminded of by , a book where a woman who has been obedient all her life suddenly throws off her shackles and embraces witchcraft. I was also thinking of by , another narrative where women are isolated and watched with suspicion and some fear by their neighbours. The narrator's reed dolls that she intends, I think, as talismans are perceived by the townspeople as spells.

So, a rich and difficult text, I'd say, that resists easy and straightforward interpretation but which is suggestive and hermeneutically open. It's introspective and even a bit claustrophobic - not one for readers who want plot and action and simple meaning. And how unexpected that this is on the Booker longlist!
Profile Image for Alison Rose.
1,088 reviews62 followers
August 28, 2023
Look, all I'm saying is:



Like FFS. Why do authors (and editors, and publishers, and critics, and award judges) think that "literary" has to mean "suffocating under the weight of cringeworthy self-importance, babbling more than every brook in every fairy tale, and crammed with so many damn commas you could string them together and make a belt for Jupiter"?

Okay, so, I will say this wasn't completely awful. (I'm such a kind soul.) I get that this is sort of an examination of prejudice--in this case antisemitism--that is so insidious and so stridently suspicious that it consumes both the wielder and the target. I appreciated that Bernstein managed to create this oppressive and unsettling atmosphere in a setting that on its surface seems quaint and serene. And as someone who has experienced antisemitism, the looks and thinly-veiled disgust and inane beliefs all rang painfully true.

But those worthy elements were nearly engulfed by the tedious and unyielding prose and the author's need to ramble on and on (and on and on and on) about everything. The writing style of "replace 90% of the periods with commas because that makes it sound profound for some reason" gets tiresome very quickly. This book is only just over 200 pages, but this absolutely could have, and in my opinion should have, been a short story of maybe 40-50 pages. It was honestly difficult at times to even figure out what the hell she was trying to say, because it was written like someone eagerly hoping to impress the Booker judges (and I suppose fair play to Bernstein, because it ). This is the kind of book, and especially the kind of writing style, that literary award judges have wet dreams about. But like...you can write a smart and deep story without doing shit like this:

I saw no reason to object - I had always wanted to live in the countryside, had often driven through the rural areas surrounding my natal city in the autumn to see the leaves in colour, to experience the fresh air, so different from the turgid air downtown, well known to be the primary cause of the high rates of infant mortality, not that I had children myself, no, no, nevertheless, the air quality and its deleterious effects on public health were of concern to me as much as they might have been to any other ordinary citizen.


It looked in other words much as one might expect a faded small-town manor house to look; my brother was nothing if not conventional, he would not have wanted to stand out, nevertheless even I was impressed at how precisely he had achieved the intended aesthetic effect, as if there had been no rupture in the house's historical lineage, as he were the natural inheritor of the house and its grounds, of its contents, of the social status and indeed bloodline these things suggested.


The different between me and anyone else was not that I wanted more to be good, it was not even that I was guiltier, no, it was something rather difficult to place, a surface placidity with which I moved through the days, plodding, plodding, what certain teachers had in my youth described as a kind of idiot impenetrability, who could blame them, the school systems were overburdened, understaffed, and to be frank there were prolonged periods during which I refused to speak a single word anywhere on the school grounds.


I kept up with my work for the legal firm, continuing the transcription of the audio notes of one of the firm's partners, presently engaged by a multinational oil and gas corporation to pursue every possible course of action against a certain individual, who happened also to be a member of the legal profession, and who had sought to prove, indeed had proven in law in certain countries though not his own, gross malfeasance on the part of the multinational's leaders that had resulted in the poisoning of a number of water courses, the destruction of ancient woodland, the decimation of at least two protected species of birds, the kidnapping of activists and the corruption of public officials, as well as tax fraud, racketeering, stock-market manipulation and other crimes besides.


The teachers lavished me with praise, holding me up as an example in front of my classmates, who despised me with good reason, in the first place because I appeared to relish the attention, taking every opportunity to answer the questions the teachers posed to us, delivering sentences with multiple clauses to showcase my linguistic virtuosity [LOLOLOL], revelling in every single syllable as it rolled off my tongue and into the space of the classroom in which I sat, together with my classmates, who observed the spectacle with silent loathing, suspecting I had prior knowledge of the languages and was in point of fact a cheat.


THOSE ARE ALL SINGLE SENTENCES THAT SHOULD NOT HAVE BEEN SINGLE SENTENCES. There were so many more like that throughout the book, and I'm sorry, but this kind of shit is just pretentiousness masquerading as eloquence. I tried reading a few of these lines out loud and was out of breath before I got to the end. (Granted, I am a frail old hag, but still.) Ridiculous.

And then...I don't know, maybe no one else would agree with me on this, but the relationship between the narrator and her brother really seemed to be telegraphing an incestuous situation. He is the eldest and she the youngest sibling in their family (I can't recall if she ever mentioned how far apart they were, but he was at least a teenager when she was born), and the way their relationship when she is a young girl was described was super fucking creepy and uncomfortable. And then in the present, she's at his house because his wife left him, and he's yet another dude who went from Mommy taking care of him to Wifey taking care of him and he doesn't know how to do jack shit for himself. So he whines his sister into coming to the house (which she is overly eager to do, another red flag), even though we are told he is not infirm and is in good health and shape. And I shit you not, she was making his meals and bringing them to him on a tray, which...fine, but also...BATHING AND DRESSING HIM. Her brother. Who is not sick, who is not disabled, who is perfectly capable. And he has his sister bathing him, including scrubbing his back and stuff, and then dressing him like he's a toddler. WHAT IN THE HELL. And then at one point as he's starting to have some health issues, she starts dry-brushing his body and giving him lymphatic draining massages. Again I ask you WHAT IN THE HELL.

I really don't understand judging panels. And I don't think I want to. This could have been a really good short story. Instead, it's a bloated novella where the good aspects are drowned out by the exponentially greater bad ones, and if it were anthropomorphized, would probably spend its days fellating itself.


Profile Image for Teresa.
Author9 books999 followers
May 4, 2024
When I got to the 90% mark of this short book, I experienced a bit of a thrill and imagined my review starting off with the words, “this work is a very slow burn.� As I continued, however, and against my expectations of a further thrill, I discovered the burn barely flares before immediately simmering down. That seems appropriate in a book whose main theme is submission, with the concept of submission being twisted into all kinds of permutations: Submission as masochism; submission as defense mechanism; fake submission; submission as power: But at what cost?

I’d heard this novel compared to and I can easily see that in its theme of the community against the outsider. I also thought of ’s "The Ones Who Walk Away from Omelas." But this work is from the perspective of a first-person narrator, so more like Shirley Jackson’s Merricat in , though arguably not as entertaining, and certainly denser.

I rarely give readerly advice, but don’t read this if you need something to happen. The story is mostly the narrator's musing, though shocks do arise from the events she doles out sparingly and suddenly.

*

Every single one of us on this ruined earth exhibited a perfect obedience to our local forces of gravity, daily choosing the path of least resistance, which while entirely and understandably human was at the same time the most barbaric, the most abominable course of action.

*

…my deference, anyone’s deference, was the surest and swiftest route to one’s own eradication.

*

I like the writer's use of the word commonsensible.
Profile Image for Scott Baird (Gunpowder Fiction and Plot).
406 reviews167 followers
September 3, 2023
Wow, turns out a novel really can just be a random collection of words and punctuation.

Beautiful writing does not automatically equate to good writing.

"In truth I took almost nothing from these daily readings, though I liked the sound of the authors pronouncements, and I could occasionally be persuaded to issue some or other of his more aphoristic statements at the dinner table". Apt, and it wasn't even the end of the sentence in the novel.

Writing should not be utilised to hide a lack of character, plot, motivations, themes or ideas.
Profile Image for Linda.
Author2 books240 followers
Read
December 2, 2023
Winner 2023 Scotiabank Giller Prize for Best Canadian Fiction
Shorlisted 2023 Booker Prize

Study for Obedience is a novel many people love or hate. It's a difficult book to rate. I neither loved nor hated it. I admired what Sarah Bernstein was trying to accomplish and enjoyed her often beautiful prose. (She is a poet, first and foremost). However, I did not enjoy reading it. I found the story claustrophobic and painful, which is the point, and her skill at creating this ambiance was one of the reasons I admired the text.

The novel is about the experience of the outsider. The narrator is an unnamed Jewish woman who goes to a rural village in an unnamed Eastern European country to care for her brother, whose wife and children left him. Her family was originally from this country, but something unnamed happened, forcing them to leave. She doesn't speak the language and can't communicate with the villagers, who blame her for animal-related illnesses, Avian flu, and mad cow disease that coincide with her arrival in the village. She senses their fear whenever she visits the town.

The narrator's response is to demonstrate her "obedience" by taking on demeaning tasks, such as cleaning the filthiest barns, to show that she is harmless and means well. However, the narrator's strategy of self-abnegation dates back to her earliest years as she explains how she learned service and self-denial as a child who catered to the whims of her family. Her penchant for self-sacrifice and attempting to please others can be attributed to how women were socialized during her youth. Yet she also feels that co-workers viewed her as an outsider at the jobs she held before returning to her family's country of origin.

As the narrative continues, the source of the narrator's discomfort becomes increasingly unclear. Why are the villagers afraid of her? Are they anti-Semitic? (They seem to accept her brother.) Is she viewed as some type of witch? Or is she an unreliable narrator? The ending is open-ended, and Bernstein leaves the reader with food for thought. I could reread the book and find different levels of meaning each time.
Profile Image for Darryl Suite.
647 reviews730 followers
August 10, 2023
WTF WTF. I’m reeling. This is the reason why I love book prizes.
Profile Image for Neale .
344 reviews184 followers
September 24, 2023
Shortlisted for the 2023 Booker Prize.

In the opening chapters the protagonist tells the reader that she is the youngest of many siblings. Regarding the siblings she tells us,

“I attended to their every desire, smoothed away the slightest discomfort with perfect obedience, with the highest degree of devotion, so that overtime their desires became mine�.

She then goes on to tell us that her ancestors were a reviled people, who had been dogged across borders, and put into pits.

In accordance with this obedience, when her brother gets divorced and asks her to come and live with him, essentially to take care of him, she complies immediately even though it is a “cold and far away place� from her home and birthplace.

There is an air of low self-esteem about her. When she says, “My contemporaries had long surpassed me� and that “No one was sorry to see me go�. She says this not with self-pity, but as a matter of fact. The reader along with her believes this to be true. But why? She senses she is unwelcome in the office where she works. Again, all these assumptions seem to be true rather than paranoia.

Soon after she arrives at her brother’s place, there’s a series of bizarre, and most unfortunate events. A dog with a phantom pregnancy, a sow kills its piglets, some sheep die and some cows go mad. All these events are blamed on her, and she remarkably accepts this blame, stating in the first chapter “I knew they were right to hold me responsible�.

These are themes explored by Bernstein. The xenophobic blaming and hostility towards the “outsider�. The accepting of this blame. The blaming of an entire people along with the individual. The victim blamed by the multitude simply for the reason their forebears were shunned and persecuted.

For me this was an entertaining read about being a victim, and the thoughts that this victim has. It is confusing as to which thoughts about her victimization are real and warranted, as many of them are, as opposed to paranoia. I mean to get to the point that you are accepting the blame for the misfortunes of the livestock etc, shows how skewed our thoughts can become. With such thoughts the reader much question her reliability as narrator.

There is also something deeply uncomfortable about the relationship between brother and sister. The protagonist talks of bathing her brother in the mornings while reading him the headlines from the paper. Does this almost incestuous behaviour add to their isolation?

Then, without giving away any spoilers, the last chapter hints at feelings of survivor guilt.

“What right, what reason did they have, one’s ancestors, to flee into the forest, cross the water, peddle rags, go to school � what was it all for, when in the final analysis one was never meant to survive? What was left? And was it enough to carry on? But we begin to weary of this line, do we not? Because here, after all, we are�.

This is a short philosophical novel intentionally written to make the reader feel uncomfortable and to put them in the mind of a possibly disturbed mind, almost demanding rereads. I will not pretend that I understand everything Bernstein is telling us but it’s most enjoyable trying to find out.
Profile Image for Katia N.
672 reviews977 followers
November 14, 2023
I do not read a lot of the recently published fiction as I agree with Martin Amis that “it’s just an uneconomical way of dividing your reading time�. However, in my very limited sample I’ve noticed certain patterns in recent “experimental� works. These patterns might be totally determined by my subjective selection of course. But it seems, the fashion of pure autofiction and fictionalised biographies is fading. It has been replaced by a number of more daring and generally more interesting forms. Those forms by itself are not necessary that new. In fact they’ve been used for centuries. But they are still a rare drop in a sea of traditionally told plot or character driven driven “stories�. And it is refreshing to see the younger authors trying to play with something more challenging than that.

The one these forms is a fragmentary text comprising mini-essays, research notes, poems in prose and personal memories mixed in, centred on a certain theme, place or even another work of literature. The recent examples I’ve read:, ]. In these works, the relationships between the fragments are often more important that any single fragment. And the reader is actively engaged establishing these links. Another modification of this is a fragmentary oral history, factual or a counter-factual. The examples: , , ).

A different form is a book-length interior monologue of the main character who is often (but not always) the narrator as well (and not always a reliable one). The text would be focused on a relatively short period of time be it an hour, a duration of a journey, or possibly - a season or a year at maximum. The text would be structured into two levels. The one would be a framing narrative that positions the narrator inside the external world. While thinking, often the narrator would be travelling, walking, smoking or doing something similarly monotonous. So this activity would serve as a skeleton of the whole novel and periodically would anchor the narrator’s thoughts. In other cases, this framing narrative would be some simple situation or a rudimentary but atmospheric plot.

But the main core of such works is the second level - the narrator’s interiority. The beauty of this form is that the narrator is free to digress on any theme, observe, travel the memory lane or express opinions without the author’s obligation to labour some artificial plot to incorporate all of this. Respectively, the variety of these thoughts are a welcome and the coherence is not an overwhelming requirement.

Another distinguishing feature of these works is that the reader is bound by a single perspective of the narrator. This could be a unique experience, but could be boring depending on one’s connection with the narrator’s voice and her preoccupations.

It seems a whole plethora of the novels like this were recently published. A few from the ones I’ve read: and , , .

"Study for obedience" is an addition to this list. The book is exactly what the title says - a study. The author conducts her study of obedience as a concept; what does it mean to be obedient and which consequences it might bear. But she does it through the eyes of her character, the unnamed woman who is also the narrator and very likely the unreliable one. It is unclear whether the woman just remembers her past year or she is writing some report about it. I would think the second is more likely due to her style of expressing herself.

The main pleasure of reading this book was that it was written in a long, elliptical and beautifully crafted sentences.

There is no dialogue, not even much of reported speech. But though this statement is technically true, it cannot be further from reality: the text is full of dialogue with other texts, other authors and very likely - with the readers as well.

The framing narrative in this case: the woman moves in into a small town in a strange country to live with her recently divorced brother. The dynamics of this relationship is obscure by design. But she seems to be initially satisfied to be his companion and almost a servant. He seems to be relatively assimilated in the place. While she is clearly alienating the locals. Strange accidents with domestic animals and the pets coincide with her arrival. Might that be the reason for their hostile reaction to her presence. Or is it deeper in a mythology of the place and her origins? The brother is absent on business for the big chunk of the book while she is familiarising herself with surrounding nature and people. This external framing creates almost gothic atmosphere or a timelessness of a fable.

The core of the text is her interior abstract thoughts and ideas, perceptions and observations. She of course is puzzled by her situation, but apart from this, she thinks about many different things. And it took me long time to figure how to focus my review without basically repeating a half of the book. (I am not sure I’ve actually succeeded in this btw). Two epigraphs to the work have eventually helped me.

The one of the epigraphs is taken from and it is about language. The narrator (very likely - the author as well) is seriously preoccupied with the notion of language, its functions and its limitations.

Through her eyes, we observe an illustration how effective mastery of language could be an instrument of power in a society. Her brother is very vocal both in their native language and in the local lingo. It is evident he uses this to exercise his influence, to persuade, to impose his will on the others.

“My brother knew how to interpret, to impute, to notate, knew in other words how to wield power. "

She, in contrast, being very articulate in her thoughts, seem to unable to exercise any power in communication and uses the language only in a way prescribed by others. She also cannot master the local language at all. So it is much easier for the locals to ignore her or the worse. It is symbolic that while the narrative progresses the situation seems to be getting reversed in parallel with changes in power dynamics: her ability to express herself whether with language or otherwise seem to be growing while her brother linguistic powers seem to fade.

He first act of “disobedience�, even if subconscious, has also taken place through the use of language. Her job was to transcribe the audio recording into the text. I cannot restrain myself from quoting at length as the passage is very elegant. She comments with such a cerebral wit on the subject of business style of writing. The one that nips any creativity in the bud:

“Up to then, writing had been an exercise in fidelity: transcribing exactly what I heard within the parameters of a strict grammatical framework. Semicolons were to be used sparingly and to separate two independent clauses joined by a conjunctive adverb or else to separate items in a list where those items themselves contained commas. All other uses were to be avoided. Such was the house style. I had prided myself on a well-placed comma, a clarifying colon. It had always been a delight to me to take the vocalisations of my colleagues and organise them according to the immutable laws of grammar, turn them into the purest, most crystalline utterances. And yet, and gradually, my adherence to these rules dropped off. I became more interested in the sound of my colleagues� sentences, the shape of their words, the occasional and probably unintended sibilance, the repetitions and elisions, the hesitations or pauses where the grammar did not mandate them. I found new ways to mark these idiosyncrasies, making use of space on the page. It seemed to me a truer notation of the language than how I had proceeded up to that point.�

So her first act of disobedience is actually an attempt to deviate from the standard, to find the truer language through empty spaces on a pages. In other words, to give more weight to the pauses, to silence as a way of expression.

The narrator also thinks about any language’s ability to express truth. The most memorable illustration of this potential impossibility is an episode when a local woman blames the narrator’s dog, Bert, for the pregnancy of her dog. But Bert is in fact snipped. However:

“What I knew about Bert’s sterility was a veterinary fact, perhaps even a biological one, but I acknowledged that this was only one way of seeing things. The woman had, doubtless, her own worldview, one that was evidently incompatible with mine but no less true, according to its own internal rules.�

I think we all nowadays can relate to the piercing absurdity of this situation while two incompatible “world views� make the notion of truth close to meaningless and the language to express it - powerless. How would you explain a biological fact to a person who does not consider science as a valid proof?

There is a theory about language that it has evolved as a tool of persuasion rather than a tool for distinguishing true and false. This book is about it: . Language allows to create narratives which often simply connect certain assertions in a convenient way or allow some “inconvenient� events simply to be dropped and forgotten. The resulting narrative does not suffer from the omission, in fact it often improves and it becomes much tidier. A narrative is often used both individually and by a collective in order to create a certain, more palatable picture. In this book, the narrator experiences the result on her own skin. Apart from being a stranger, she is also a Jew, many of her people perished in this land in the past:

“My presence violated some crucial and unspoken rule, which I thought now had to do with narrative, the right of a people to preserve the stories they told about themselves and their own history. My silence was a reproach to them, something pressing at the edges of their consciousness, a terrible knowledge they did not want to own and which I made them look at day after day. In silence, yes, for words have more than once led us away from truth.�

These people needed the stories: “stories one told oneself in order to live, to go on living with oneself, knowing what one was capable of, knowing the things one had witnessed, the things one had done.� This echoes a well-known phrase by Joan Didion.

In seems, on one hand, a language makes life more palatable; but on the other hand, the same language helps to obfuscate something essential, the truth. The narratives are overrated, “words have more then once lead us away from the truth�, so the narrator is often choosing silence. I am not sure whether it is an act of resistance; very likely - not. But it is an act of disobedience by default.

I also admired how the narrator has started to doubt other nuggets of acquired, previously unquestionable “wisdom�:

“It’s true, I thought, ...that imagination may be a moral faculty, as some writers have maintained, but how to understand its workings? ...If imagination was to be understood primarily in terms of morality, I needed to know how to cultivate it, I needed to understand the terms and structures of goodness and its pursuit. (in another part: “I wanted to be good in the terrible world.�) ...the charge of a lack of imagination was one I took seriously. Had I not spent my life imagining myself in the shoes of the other?�

Such questioning has made this work very engaging for me as a reader. I’ve almost screamed: “you are confusing imagination with empathy�; and “i do not believe imagination is moral otherwise all artists would be saints and the art would never be used to inspire evil acts.�

The second epigraph is by Paula Rego: “I can make women stronger. I can make them obedient and murderous at the same time.�. It is interesting to speculate whether this is a message on behalf of the author or the narrator. I would prefer the former as creates another meta-fictional layer. The narrator, in my view is not quite there to become both at the same time: murderous and obedient.

The analysis of obedience as a concept is quite nuanced. Also it allows the narrator to observe many connected phenomena like historical memory, surviver’s guilt and power dynamics. Sometimes, the narrator feels her obedience is rewarded. But those moments are fleeting. Predominantly, the narrator comes to the conclusion that obedience often borderlines complicity; and meekness or deference are “the swiftest route to one’s own eradication�. I find the two brilliant passages below almost ruthless in their effectiveness:

�...meekness brings out the sadist in people, the atavistic desire to bite at the heels of the runt of the litter. As one writer put it, it’s not the meek who inherit the earth. The meek get kicked in the teeth.�

“As I cycled across town, to the dump, to the farm, as I cycled back up the hill to my brother’s house, I thought often about life and its chance encounters, the inexorable question of complicity, about how not one of us could claim to be innocent any longer. I thought that naivety, though it had long proven useful in protecting one from facing facts more squarely than it suited, was more inexcusable, more repugnant than ever. No more padding between the word and the world. I read once that ours was a century of half measures, and I thought even then that nothing could be further from the truth. Every single one of us on this ruined earth exhibited a perfect obedience to our local forces of gravity, daily choosing the path of least resistance, which while entirely and understandably human was at the same time the most barbaric, the most abominable course of action. So, listen. I am not blameless. I played my part.�


Interesting that in Simone Weil, (in the list of references to this text) considered obedience as a necessary condition of coherence of a society. She defined obedience as the consent given by an individual to be governed by someone else. This side does not to seem to be resurfaced in this book.

To conclude, in my favourite essay “Intertextual irony and levels of reading�, Umberto Eco specifies 4 qualities of a novel: 1) meta-fictional - a commentary of the text on itself; 2) double-coding - at least two possible levels of reading; 3) dialogism - dialogues with other texts; 4) intertextual irony - it is a concept, similar to dialogism, but more subtle - the reference to another text is either not obvious or ironic. The text would make sense without it, but the experience of reading is enriched by it. Since i’ve read the essay, i’ve somehow adopted this list as a kind of a personal checklist of qualities i like in a novel.

Needless to say, this one worked for me. All four elements were seamlessly there making my reading a rewarding experience.

I cannot resist sharing an example of “intertextual irony�. The narrator’s brother made her read Montaigne at the morning. (This particular example resonates as, like the narrator, I also try to read some Montaigne on some mornings with a mixed record of success:-):

“As I struggled through Montaigne each morning, I felt the greatness of his intellect, its expansiveness, and, in spite of this, and truth be told, I felt slightly ashamed on his behalf. Was it that I felt, instinctively, that it was improper to use one’s mind in public, in so public a way? Was it, in the final analysis, a disgraceful, even obscene thing to think out loud, still worse to have one’s thoughts outlive oneself, to travel through the centuries in no straight line, surviving only because of the vagaries of taste, the accidents of translation, to make it through so much only to end up in the hands of some person like me, so ill equipped to receive them?�

I found this passage not only witty but also quite funny in terms of her perception of Montaigne. It is ironic of course as this novel does a similar thing to Montaigne - a study of a concept through someone’s subjectivity and knowledge. Moreover, he paid quite significant attention to obedience in particular. I’ve counted 47 mentions of this notion across his different essays.

The last chapter was the only part of the novel that left me a bit underwhelmed. I am not quite sure what the author wanted to achieve by it. It seems she was looking for a resolution for her framing plot or for a culmination of the absurdity of the situation of her narrator. But i personally did not find it convincing or necessary. The fact that the narrator has made a very stylised speech and starts to use an academic jargon such as “adjection� and “structures� was a bit puzzling as it went against the perceived absence of the common language with the villagers. The eloquence of the speech, though a wonderful exercise in style did not add anything new for me. Was silence supposed to be a better weapon?

I also wish the narrator act more decisively or “murderously� in the sense of Rego’s phrase. That is, if the author’s intention was to get gothic elements of the plot from the background to the main stage.

However, these reservations about the last chapter have not spoiled the pleasure of reading and thinking about this book: this might also be obvious from the length of this review!
Profile Image for Blair.
1,967 reviews5,666 followers
July 7, 2023
(3.5) I adored Sarah Bernstein’s debut, . This second novel is written in a similarly distinctive style � opening lines: It was the year the sow eradicated her piglets. It was a swift and menacing time. The plot, such as it is, is broader in scope, or maybe it’s just that it’s a little more unfocused, or felt that way to me. The narrator is a woman who sees her life as having been defined by obedience to her ‘many� older siblings. In keeping with that, when her eldest brother asks her to stay with him in an Anna Kavan-esque ‘remote northern country�, she acquiesces without question. From there it unfurls in several directions: the brother’s ailing health, the suspicion of the locals, a thread of what seems like folk horror, and ultimately, a sort of reckoning with the weight of history. As in in Bad Days I found the writing very striking, but these pithy, glacial sentences are most successful when the narrative concentrates on the personal; less so when applied to bigger themes. A book for those who appreciate the eerie and ambiguous � it reminded me (again) of Fleur Jaeggy, and also Marie NDiaye’s .

I received an advance review copy of Study for Obedience from the publisher through .
Profile Image for Emmanuel Kostakis.
101 reviews171 followers
April 5, 2024
“In this process, I would become reduced, diminished, ultimately I would become clarified, even cease to exist. I would be good. I would be all that had ever been asked of me.�

An unnamed protagonist is embedded into a dissolving rural society. Her self-flagellated - agitated persona provides the basis of a cryptic narrative that puzzles with the amplitude of masochistic, humiliating and anachronistically indisposed wonders succumbed to her life. The sadness of the passing days, the melancholy one felt in the air, only exacerbate the swift contraction of the world around her.

This is a claustrophobic and ambivalent novel that will leave you wondering of the righteous path to the purgatory of life, and dare you to ponder what the outcome might have been if the presence of our protagonist had been a mundane joke or just a purposeful game of existential struggle. Allegorical sound - with ethical and comical manifestations spliced in a beautiful narrative of a wondering aptitude and tumultuous angst.

3.8/5
Profile Image for Alan (the Consulting Librarian) Teder.
2,507 reviews202 followers
January 19, 2024
January 19, 2024 Update Join 2023 Scotiabank Giller Prize winner Sarah Bernstein and author Heather O'Neill for this one-hour conversation. Everyone is welcome to attend. To reserve your spot, please register using the form at


November 13, 2023 Update Study for Obedience was announced as the winner of the $50,000 Cdn. Scotiabank Giller Prize this evening, Canada's highest literary award. See further at and at the webpages.



October 11, 2023 Update Study for Obedience was announced as one of the five books shortlisted for the . The winner will be announced on November 13, 2023.

September 21, 2023 Update Study for Obedience was announced as one of the six books shortlisted for the . The winner will be announced on November 26, 2023.

Ambiguous Novel Alert
Review of the Net Galley ARC for the Knopf Canada edition (August 22, 2023) with reference to the original Granta Books hardcover (July 6, 2023).

September 6, 2023 Update: Longlisted for the .
Longlisted for the .

[Note: As this was an ARC copy, my Kindle Notes are not shareable, but most of them are included in my status updates which you can read below the review text]

The nature of Study for Obedience requires going a step beyond my standard Ambiguous Ending Alert�, although it earns that tag as well. A nameless narrator arrives at a nameless northern town in a nameless northern country to become the caregiver to her eldest brother, whose wife and children have left him. She does not speak the local language. We gradually piece together that the woman is of Jewish heritage and that the townspeople have an ancestral animosity towards people of that faith as pogroms are hinted to have taken place in the past. Soon after her arrival, the brother departs and doesn't return until towards the end of the book when he appears to sicken.

This follows on from the heart of the book where, although she attempts to ingratiate herself to the town by participating in community farming chores, the woman is suspected of causing a mad cow infestation & resultant herd extermination, a still-born birth by a sheep, a phantom pregnancy of a dog, the containment of the chicken population and a potato blight.

The woman doesn't help her cause by one night travelling around the town leaving handmade dolls woven out of grass and herbs on doorsteps. Although that is a foreboding sign, no apparent actual witchcraft occurs. She in fact sees the dolls as protecting "talismen." The townspeople see them differently however.

Although there is no real resolution and much remains a mystery, I still found this to be a very compelling read due to the author's rather hypnotic prose which was often poetic and used repetitive strokes, as if to insist on various points. So it earns a 4 rating regardless of its ambiguous nature. The ambiguous end comes with a paraphrase and allusion to the "Lecture on Nothing" in John Cage's (1961).
I am here and there is nothing to say. - John Cage.

I read Study for Obedience through its being longlisted for the 2023 Booker Prize and especially due to Sarah Bernstein being the only Canadian author on the longlist. Readers who are prepared to accept its ambiguous nature will likely find it just as engrossing as I did.

My thanks to the publisher Knopf Canada and Net Galley for the opportunity to read this Kindle ARC in exchange for which I provide this honest review.

Other Reviews
by Chris Power, The Guardian, July 19, 2023.
by Emily Donaldson, The Globe and Mail, August 17, 2023.
by CBC Books, August 29, 2023.

Trivia and Link
There is a background article and a brief interview with author Sarah Bernstein about her being longlisted for the 2023 Booker Award at by Sonja Puzic, The Canadian Press, August 12, 2023.
Profile Image for Emily M.
388 reviews
November 15, 2023
Tricksy twisty voice-driven oblique allegory-ish vaguely gothic slim novel shortlisted for the Booker Prize, and deserved winner of the Giller Prize.

A namely narrator of (it emerges) Jewish heritage moves to housekeep for her brother in a Northern country (Poland?) from which their ancestors haled� and indeed, many of those ancestors lie buried in pits not far off. The narrator’s arrival comes to be seen by the visitors as menacing, as some wild and domesticated animals die, she is treated like a witch, like a pariah, like a� Jew.

Meanwhile, she is transfixed by the beauty of the forest. She wishes to stay.

I endeavoured to learn from staying in place. I studied under the plants, under the earth-worms, I felt the texture of the earth in which all these organisms lived changing with the seasons. How, I wondered, might a person, a people, take root? Roots and rootless-ness, the preservation of what little remains of the past, such were the thoughts that blew through me on any given morning, standing very still on the porch, or in the garden in my bare feet, feeling suddenly: that sound, that rushing, it is the wind, it is the trees!

I don’t always find author interviews helpful, but the points raised in Sarah Bernstein’s piece on the Booker website:

did deepen my experience of this novel. Namely, that voice comes to her before story: unsurprising given the removed, slightly rambling, slightly chilly and possibly very misleading tone of the narrator here. It was interesting to consider that this might have been a story about something else. I wonder if the voice suggested a story, or if the voice went looking for a story. Anyway, shades of Rachel Cusk and Anna Burns here for me, and many more shades of Shirley Jackson (whom Bernstein was apparently reading at the time) in the story of standoffish villagers becoming potentially violent towards an outcast protagonist. But these gothic touches are not exuberant, as in Jackson; they’re restrained and chilly, as though filtered through Cusk.

This is a book in dialogue with a number of other books, most of which I haven’t read, so there are many missing threads in my interpretations, but even without all the insider references, this cleverly raises so many topics that are central to today.

The rebirth of right-wing movements once considered vanquished has clear parallels with, well, the world today. Here we see it through the eyes of a victim who in some way understands the villagers who will rise to be her oppressors once more.

I felt that if this man resented me, it would not be for the same reasons as the rest of the townspeople, it would be for something else, closer to the truth, though perhaps as with so many things the two rationales would intersect, at the point of class, at the point of misery.

There is the theme of the unspeakableness of much of what the book grapples with. The protagonist is incapable of learning the local language, despite speaking five or six others. And she works for lawyers using language to ensure an activist will never work again.

As far as the law was concerned, my brother said, life was set down by the word, but as he saw it, the word, language, could make things possible. Language and its affordances, said my brother, and this time I did not disagree with him. Form and experiment. Meaning ran one way and then another. How lovelily he spoke, I thought�

Another point is one addressed by Bernstein in the interview: “the question of innocence and the really bizarre expectation that, in order for someone’s suffering to be recognized as legitimate, that person needs also to be innocent � whatever that means.� And indeed this is a thread I find very troubling in modern life, from the preference for “women and children� as refugees, to whether a Black man shot by police was carrying drugs, to the Johnny Depp/Amber Heard trial!

In fact, I was so caught up in the idea of innocence that the concept of “obedience� went slightly over my head� perhaps a missed intertextuality. But I wondered why this was Study for Obedience rather than Study for Innocence. And that “for,� suggesting as it does that this book may even be sketches for a bigger project.

Allow me to begin by suggesting that there is nothing to say and nothing with which to say it.

As for the end…it is very oblique. A few interpretations suggest themselves, but the text seems to escape in all directions. A second read might clarify. My preference is for a book that is slightly more suggestive of its final meaning, but after all, when so much social commentary these days is so obvious and unnuanced, it’s a pleasure to read something that wallows in ambiguity.
Profile Image for Hugh.
1,279 reviews49 followers
August 18, 2023
Longlisted for the Booker Prize 2023

This was my first book from this year's Booker longlist and is an interesting and bold choice. I should have reviewed it when it was fresh in the memory, as I found it enjoyable and stimulating, but having read four other books since, my memories of it are fading fast. I feel unqualified to review a book with so many references to other books I have not read, and the foreground plot is rather slight and elliptical. I would not be surprised to see this one shortlisted.
Profile Image for Marc.
3,341 reviews1,761 followers
March 19, 2025
Just before this one, I read Anne Michael’s , and that too is one that raises more questions than it answers. With ‘Held� I couldn’t figure it out, I really couldn’t get a grip on the story and I was left disappointed. But with this novel, by the Scottish-Canadian writer Sarah Bernstein, I did manage to find a key to understanding the text, at least a bit. Of course, that is also because this story is more homogeneous: in contrast to the separate vignettes in ‘Held�, here we follow the adventures of a woman who tells what happens to her when she goes to live with her brother in a northern area. Bernstein clearly uses some of the conventions of the gothic genre: no names of people or places, a fairly remote farm in an area where a different language is spoken, and mysterious phenomena and actions that are at once enchanting and terrifying.

And most of all, there is the first-person narrator, the unnamed young woman. From experience I know that you always have to be careful with a first-person narrator in a novel: they are almost by definition unreliable. And Bernstein does everything she can to emphasize that here too: both the descriptions and the constantly recurring reflections of the young woman regularly contain very disturbing elements. Sometimes this seems to be heading in the direction of an abuse or even an incest story (what is the exact relationship between brother and sister?), then again there are hints towards racism and even antisemitism (are the villagers a sect?). And then we haven't even mentioned the narrator's constant references to her self-imposed 'obedience' program with which she tries to deal with supposed challenges (hence the title), while she herself also performs suspicious actions; absolutely disturbing. But Bernstein keeps it all vague enough so that the tension is not relieved. I only had a little trouble with the ending; that seemed to me a rather cheap measure to put this novel down.

With this book, rightly included in the Booker Shortlist, Sarah Bernstein proves that she has something up her sleeve. I also refer to the passages in which she tries out other stylistic registers: sometimes poetic, sometimes purely enumerative, in short and then again long sentences, even once in slow motion. So, let's say I am curious about her next work! 3.5 stars
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