quench the longing for the carefree spirit of bygone days. Political conservatism hasn't completely extinguished the flame of liberal idealism. As the children of the '60s come of age, they grapple with lingering doubts about the worth of their success and fear that their youthful visions have been compromised. As Judith peels back the veneer of her pristine suburban enclave, uncovering the grim truths hidden beneath, she confronts her own past complacency. Within the "perfect" wife and mother lies a person with profound needs and aspirations unmet by her current existence. Though the future remains uncertain, Judith's newfound ability to make choices as a self-reliant adult fills her with hope, even if it means risking her commitments to others.

Compromising Positions brilliantly showcases an author's ability to weave together the seemingly disparate threads of detective fiction and the Bildungsroman, or coming-of-age novel. Isaacs, with her pen, conjures comparisons to the legendary Chandler, and her central character is hailed as a seasoned Nancy Drew, even earning the moniker "Sam Spade in pantyhose." She's a concoction of three parts Bloomingdales, one part de Beauvoir. Isaacs' genre choice is indeed astute. Notably, the eminent Dorothy Sayers observed the scarcity of female detectives in the professional sphere, yet the amateur sleuths hold a revered spot. From Christie's astute Miss Marple and the adventurous Tuppence Berensford to Josephine Tey's insightful Miss Pym, and Amanda Cross's contemporary Kate Fansler, these women delve into mysteries driven by their profound interest in and knack for understanding human nature. They often sidestep the "technical" details of cases, focusing instead on unraveling the psychological tapestry of individuals, echoing the French tradition of detective storytelling. Despite their lack of formal credentials, their unconventional approaches often lead to more gratifying outcomes than those achieved by their professional male counterparts.

In the realm of contemporary women's literature, the "quest for identity" novel stands firmly established. Perhaps initiated by Doris Lessing's "Martha Quest" series, this genre embraces writers like Erica Jong with her provocative Fear of Flying (1973), Marilyn French's groundbreaking The Women's Room (1977), and Rita Mae Brown's audacious Rubyfruit Jungle (1973), among others. The protagonists of these narratives navigate the intellectual waves of modern feminism, with one critic noting an "occasionally strident note of knee-jerk feminism" in Compromising Positions. These fictional women, amidst the complexities of contemporary femininity, offer intriguing and distinctive resolutions to their quests for self-discovery.

The dilemmas explored in Close Relations (1982) echo those found in Compromising Positions with a strikingly complementary perspective. While the latter delves into the life of an intelligent suburban homemaker and mother, stifled by the lack of avenues to express her abilities and desires, Close Relations shifts the spotlight onto the complex tapestry of challenges confronting the single career woman. Here, the narrative threads weave through intense career pressures, the struggle to maintain a robust self-image and personal pride amid family disparagement, and the potent sexual urges that often lack fulfillment. It also delves into the fear of being alone, pushing some women toward accepting "second best" in love, especially as they navigate their mid-thirties. Moreover, it touches on insecurities about one's allure and the familial insistence on not just marrying, but marrying "appropriately"—a partner who aligns with social or ethnic expectations.

The exploration of these poignant themes continues to unfurl in subsequent works such as Almost Paradise (1984), Shining Through (1988), Magic Hour (1991), After All These Years (1993), and Lily White (1996).

Compromising Positions found new life on the silver screen in 1985, under the banner of Warner Brothers and the visionary direction of Frank Perry. The screenplay, crafted by Susan Isaacs herself, managed to distill the essence of her intricate novel into a dynamic and comedic detective adventure. A stellar cast brought the story to life, with Susan Sarandon captivating audiences as the lead, accompanied by Edward Herrmann as her on-screen husband, and Raul Julia embodying the astute detective. The ensemble was rounded out by the talented Judith Ivey, Deborah Rush, Mary Beth Hurt, and Anne De Salvo, who each delivered compelling performances in their supporting roles.

The film was met with critical acclaim, earning laudatory reviews that celebrated its wit and energy. The Screening Committee of the National Board of Review, renowned for their discerning taste, deemed the film "extraordinary," cementing its status as a standout cinematic achievement of its time.