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Three Junes
Julia Glass, 2002
Random House
353 pp.

In Brief
Winner 2002 National Book Award for Fiction

Julia Glass's National Book Award-winning novel is fundamentally a story of family, and of the way that the bonds of love can also become barriers between individuals longing to connect. But Three Junes also spans the final decade of the 20th century, and woven into the story of the Scots-American McLeods is a penetrating look at the circumstances of contemporary life. Dealing with issues ranging from the AIDS crisis to the impact of modern science on fertility, Glass's novel places its characters in a world whose problems will be familiar ones for reading groups.

The "Three Junes" of the title separate the action of the story into three separate sections, unfolding in three different years. The result is a triptych that - along with some of the issues raised -- may remind readers of Michael Cunningham's 1999 novel The Hours. Three Junes opens in 1989 with the story of Paul McLeod, the Scots father of the family, who has just lost his wife to cancer, and his meeting with Fern, an American painter, when he takes a tour of Mediterranean islands. The second section jumps six years to follow Paul's son Fenno, a gay bookstore owner in New York City, and sketches his perspective on the McLeod family dynamics. Fenno's story incorporates that of his twin brothers David and Dennis and his problematic relationship to their more conventional lives.

The third June, in 1999, is told from the perspective of Fern, as she encounters Fenno through an unrelated connection, and thus weaves together the stories of father and son. There is no single event driving the plot - rather, book clubs will discover a wonderful opportunity for conversations about the subtle accumulations of events out of which the shape of a life emerges.

A central theme in Three Junes is memory and particularly the kind of memory that constitutes mourning. Living "in the moment" is a challenge for the McLeods - a universal issue sure to open many discussions about the how the past can take hold of our present lives. The novel opens with Paul's excursion to Greece after his wife's death - and his realization there that seeing almost any woman who resembles her can trigger an acute sense of her presence. This is movingly echoed in the section of the book in which Fenno describes his early years in New York in the late 1980s. Fenno is haunted both by the ghostlike memory of his mother, as well as the friends lost to the AIDS epidemic. Both men must struggle to find renewed meaning in lives that have changed in ways they could never have suspected. Fern, too, must struggle with the memory of a husband whose death came as a wrenching conclusion to a difficult relationship.

Finally, Glass has penned a story that always returns to questions of love and communication - and particularly the ways the two are not always in harmony. Critics have remarked that much of the novel takes place in island locations, from Scotland, to Greece, to the island of Manhattan. This motif underscores Glass's concern with how emotionally separated even the most loving people can become from one another. And while Fern's meeting with Fenno in a symbolic way bridges the gap between father and son, the words that did not pass between the two hang all the more noticeably in the atmosphere of Three Junes. Reading groups will enjoy following together Glass's exploration of these island-like souls, and looking for the evidence of the messages sometimes sent between them. (Bill Tipper--From the publisher,)

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About the Author

• Birth—March 23, 1956
• Where—Boston, Massachusetts, USA
• Education—B.A., Yale College
• Awards—Tobias Wolff Award for Fiction, 1999; Nelson Algren
  Fiction Awards, 1993, 1996, 2000; National Book Award for
  Fiction, 2002
• Currently—lives in New York, New York


Julia Glass is an artist of many talents. After graduating from Yale University with an art degree, she received a fellowship to study figurative painting in Paris. Upon her return, she moved to New York City. She became involved in the city's energetic art scene, showing her works in group installations around town. Glass had a day job as a copy editor, and she wrote the occasional column for magazines. She had always been a good writer, but was initially focused on the possibility of a career in the visual arts. Eventually, the pull to write would become too strong. Glass put down the paint brush and picked up the pen.

One of her first short stories, never published, was titled Souvenirs. Its main character was a young art student touring Greece. It was based on her real-life experiences in Greece, yet another event from Glass' trip was to be the turning point in her career, although she couldn't have known it at the time. She met an older gentleman while on a tour, and in their brief conversation, the man mentioned that his wife had recently passed away... but what Glass remembered most was the mournful expression on his face and the stark, white, Grecian architecture.

Writing was a kind of therapy for Glass. While working on Souvenirs, she endured previously unimaginable tragedies. Her marriage ended, she was diagnosed with breast cancer, and her older sister passed away. The memory of the sad widower in Greece took on much deeper meaning, and she decided to rewrite the story from his point of view. This rewrite eventually becomes Collies, which won the Pirate's Alley Faulkner Society medal for novellas.

At her editor's urging, Glass continued writing the story, and Collies became the first part of her stunning debut novel, Three Junes.

It's rare that a first novel is widely considered to be brilliant, but brilliance is what you'll find in Three Junes. Her training as an artist is evident in each sentence where even the smallest moment -- a gesture or an object -- is labored over and paid the attention it deserves. And like the visual arts, in Three Junes even the slightest elements are suggestive of its whole.

The father and eldest son of the McLeod family live on opposite sides of the Atlantic and lead very different lives as they both deal with similar losses and passions. The first part of the novel takes place in June of 1989. Paul, the patriarch of the family, lives in Scotland. He visits Greece while still grieving for the loss of his wife and meets Fern, a young art student also on the tour. His brief time with Fern allows him a chance at passion when he least expected it.

The second part of the novel is told from another voice. Fenno, Paul's oldest son, is central to the story as a whole, and his presence connects his family's past to its future. In June of 1995, Fenno is a loveable, slightly repressed gay man who has moved to New York City and opened a bookstore. Glass captures the cosmopolitan West Village, setting the scene for Fenno to open his heart to love and face the rest of his family upon Paul's death.

The final story in the novel is the chance meeting between Fenno and Fern in June of 1999. Like his father before him, Fenno captivates Fern. All of their loves and losses over the past decade begin to be reconciled over one magical night's dinner. The web of people attached to their lives is revealed, surprising them at how a previous generation's choices have become their obstacles. In the end, though, their wounds are deep, but they're not paralyzing.

The book won the 2002 National Book Award for Fiction. It is praised for its perfect pacing, attention to the slightest degrees of human behavior, and the gentle humor we must all have when dealing with the ones we love. It's an extraordinary first novel.

Extras
Glass's first published writing was a regular column on pets called "Animal Love" that ran in Glamour magazine for two years in the late eighties. Says Glass, "I grew up in a home where animals were ever-present and often dominated our lives. There were always horses, dogs, and cats, as well as a revolving infirmary of injured wildlife being nursed by my sister the aspiring vet. Currently, I have no pets, yet inescapably, without any conscious intention on my part, animals come to play a significant role in my fiction: in Three Junes, a parrot and a pack of collies; in my new novel, a bulldog named The Bruce. To dog lovers, by the way, I recommend My Dog Tulip by J. R. Ackerley -- by far the best 'animal book' I've ever read."

She is an avid rug-hooker in her free time. She explains that "unlike the more restrictive needlepoint, this medium permits me to work with yarn in a fluid, painterly fashion." In November 2002, several of her rugs will be reproduced in a book called Punch Needle Rug Hooking, by Amy Oxford (Schiffer Books).

Glass considers herself a "confirmed, unrepentant late bloomer." She explains, "I talked late, swam late, did not learn to ride a bike until college -- and might never have walked or learned to drive a car if my parents hadn't overruled my lack of motivation and virtually forced me to embrace both forms of transportation. I suspect I was happy to sit in a corner with a book. Though I didn't quite plan it that way, I had my two sons at just about the same ages my mother saw me and my sister off to college, and my first novel was published when I was 46. This 'tardiness' isn't something I'm proud of, but I'm happy to be an inspiration to others who arrive at these milestones later than most of us do."

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Critics Say. . .
This enormously accomplished début novel is a triptych that spans three summers, across a decade, in the disparate lives of the McLeod family. The widowed father, a newspaper publisher who maintains the family manse in Scotland, is chary, dogged, and deceptively mild. Fenno, the eldest son, runs an upscale bookshop in the West Village, and his most intimate relationship -- aside from almost anonymous grapplings with a career house-sitter named Tony -- is with a parrot called Felicity. One of Fenno's younger brothers is a Paris chef whose wife turns out pretty daughters like so many brioches; the other is a veterinarian whose wife wants Fenno to help them have a baby. Glass is interested in how risky love is for some people, and she writes so well that what might seem like farce is rich, absorbing, and full of life.
The New Yorker


The artful construction of this seductive novel and the mature, compassionate wisdom permeating it would be impressive for a seasoned writer, but it's all the more remarkable in a debut. This narrative of the McLeod family during three vital summers is rich with implications about the bonds and stresses of kin and friendship, the ache of loneliness and the cautious tendrils of renewal blossoming in unexpected ways. Glass depicts the mysterious twists of fate and cosmic (but unobtrusive) coincidences that bring people together, and the self-doubts and lack of communication that can keep them apart, in three fluidly connected sections in which characters interact over a decade. These people are entirely at home in their beautifully detailed settings Greece, rural Scotland, Greenwich Village and the Hamptons and are fully dimensional in their moments of both frailty and grace. Paul McLeod, the reticent Scots widower introduced in the first section, is the father of Fenno, the central character of the middle section, who is a reserved, self-protective gay bookstore owner in Manhattan; both have dealings with the third section's searching young artist, Fern Olitsky, whose guilt in the wake of her husband's death leaves her longing for and fearful of beginning anew. Other characters are memorably individualistic: an acerbic music critic dying of AIDS, Fenno's emotionally elusive mother, his sibling twins and their wives, and his insouciant lover among them. In this dazzling portrait of family life, Glass establishes her literary credentials with ingenuity and panache. Agent, Gail Hochman. 7-city author tour. (May 10) Copyright 2002 Cahners Business Information.
Publishers Weekly


This strong and memorable debut novel draws the reader deeply into the lives of several central characters during three separate Junes spanning ten years. At the story's onset, Scotsman Paul McLeod, the father of three grown sons, is newly widowed and on a group tour of the Greek islands as he reminisces about how he met and married his deceased wife and created their family. Next, in the book's longest section, we see the world through the eyes of Paul's eldest son, Fenno, a gay man transplanted to New York City and owner of a small bookstore, who learns lessons about love and loss that allow him to grow in unexpected ways. And finally there is Fern, an artist and book designer whom Paul met on his trip to Greece several years earlier. She is now a young widow, pregnant and also living in New York City, who must make sense of her own past and present to be able to move forward in her life. In this novel, expectations and revelations collide in startling ways. Alternately joyful and sad, this exploration of modern relationships and the families people both inherit or create for themselves is highly recommended for all fiction collections. Maureen Neville, Trenton P.L., NJ Copyright 2002 Cahners Business Information.
Library Journal


Readers may be reminded of Evelyn Waugh and, especially, Angus Wilson by the rich characterizations and narrative sweep that grace this fine debut about three summers in-and surrounding-the lives of a prominent and prosperous Scottish family. Recently widowed Paul MacLeod languishes through a guided tour of Greece in 1989, buoyed by a hopeful, not-quite-romantic relationship with a Daisy Miller-like American artist. This sequence is a rich blend of carefully juxtaposed present action and extended flashbacks to Paul's youth and wartime service, management of his family's highly successful newspaper, and conflicted marriage to the woman whom he adored and who was probably unfaithful to him. The second "summer" (of 1995) brings Paul's gay eldest son Fenno home from New York City (where he co-owns a small bookstore) for his father's burial, and his own roiling memories of compromised relationships with his two brothers and their families and with former lovers and mentors. Fenno's account of what he wryly calls "a life of chiaroscuro-or scuroscuro: between one kind of darkness and another" is the best thing here. The third summer, of 1999, focuses on Fern, the artist Paul had briefly encountered during his Grecian junket. Glass deftly sketches in Fern's history of romantic and marital disappointments (she seems to be fatally attracted to men who are gay, bisexual, self-destructive, or just plain undependable) as well as present confusions (she's living with Fenno's former lover). But the manner in which Fern is coincidentally re-connected with the surviving MacLeods is both ingeniously skillful and just a tad too contrived. Glass makes it all work, though the parts are not uniformly credibleor compelling. Nevertheless, a rather formidable debut. The traditional novel of social relations is very much alive in Three Junes. Virginia Woolf and Elizabeth Bowen, among other exemplars, would surely approve.
Kirkus Review

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Book Club Discussion Questions

1. Julia Glass is also a painter. How do the style, structure, and descriptive passages of Three Junes reflect her artistic sensibility? How do the various segments, stories, and flashbacks work within the chronological text?

2. While traveling in Greece, Marjorie says she cannot stop “collecting worlds. . . . Different views, each representing a new window” [pp. 31–32]. How is the role of the traveler and observer like the role of the author?

3. Place figures crucially in the novel, whether it is a Greek island, a Scottish town, the West Village of New York City, or a Long Island town. What is the importance of each place and its role in the context of the entire novel? What are the symbolic differences between the countryside and the city? Where does Fenno belong?

4. The episodes in the first part, Paul’s vacation in Greece juxtaposed against the tale of his life in Scotland, come together to form a picture of his marriage with Maureen. Why does the author tell his tale in this fashion? Why is this part titled “Collies”?

5. Why does Paul, the steady shepherd of his family and newspaper, go to Greece first on vacation and then to live? Do you think he really wanted to “drop [his memories] like stones, one by one, in the sea” [p.49]?

6. In the beginning, Fern reminds Paul of Maureen. Are the two alike or not? What are their similarities and differences? What does each want from life? How have Fern’s relationships affected her character and choices? Why hasn’t she told Stavros about her pregnancy? What is she afraid of?

7. Why doesn’t Fenno visit his father in Greece? What else has Fenno postponed doing or compromised for the sake of work or being upright? What consumes Fenno? What is the cause of the coolness between Fenno and his brother David? Is it rivalry? Do you think this coolness changes by the novel’s end? Which brother seems more admirable, and why?

8. What does the author accomplish by dividing the book into three parts with only the second as a first-person narrative? Why does she let Fenno tell his own story? What effect does this have on the reader? In addition, why does Fenno occasionally address the reader—for instance, when he says, “feeling left out, you will have noticed, is second nature to me” [p. 125]? Does this make us sympathetic to Fenno?

9. Part Two is titled “Upright.” Why? Is uprightness a positive or negative characteristic? Which characters are upright in the novel? Who is not?

10. What is the appeal of birds for Fenno and Mal? Fascinated by birds as an adolescent, Fenno covers the walls of his bookstore, named Plume, with bird prints. The dishes Mal breaks have birds on them. Felicity—Mal’s and then Fenno’s bird—is a vital character in the novel. Do birds and books have a special connection here?

11. What is the role of the mother in Three Junes? Has motherhood transformed or hindered Maureen? Do you think it will change Fern? How does Lucinda, the übermother, carry out her role? How about Véronique?

12. The novel teems with interconnected relationships. Describe some of them. Paul and Maureen—were they both satisfied in life? In marriage? Mal and Fenno—was their relationship ever fully actualized? Fenno and Tony—what kind of attraction did they share? Was it purely sexual? Tony and Fern—what brought them together? Fern and Stavros—will they stay together? Which is your favorite couple?

13. Tony’s job is “to take the very, very small and make it large. . . . Give stature to the details” [p. 277], which is also what the author does. Is Tony a compelling character in Three Junes? Is he simply a foil to Fenno and Fern? What is his purpose in the novel?

14. How does food—its smells, textures, and tastes—weave its way into all three parts of the novel? Why does the author vividly spell out the menus and recipes for us at all the critical meals? Which dishes are the most memorable?

15. What are the various views of death presented in Three Junes? How does the author view death? How do the characters in the novel accept or come to terms with death?

16. Anna explains to Fern, “When it comes to life, we spin our own yarn, and where we end up is really, in fact, where we always intended to be” [p. 286]. Glass ends her novel echoing this quote. Why? What do Anna’s words signify?
(Questions issued by publisher.)