In The Lonely Passion of Judith Hearne, Moore’s first novel, he introduces all the themes that will flower in his distinguished career. He takes a large risk by making his protagonist an unmarried, plain, narrow-minded woman over forty who is impoverished, lonely, conventionally pious, and secretly alcoholic. He is tender with her, even inviting the reader to like her as he describes in impressive detail her confused interior life. Honoré de Balzac would have made her a villain, as he did the brooding title character in La Cousine Bette (1846; Cousin Bette); Flannery O’Connor would have mocked her with gothic glee; Eudora Welty would have drawn her comically; F. Scott Fitzgerald, Ernest Hemingway, and William Faulkner would not have imagined her; Vladimir Nabokov would have disdained her.
Joyce, though, might have joined Moore in empathizing with Judith Hearne as a loser whose fate is determined by the suffocating weight of Irish banality, hypocrisy, and empty religiosity. Hearne is an aging, long-faced Belfast music teacher with barely one hundred pounds a year to her name, in a land where a good man is almost impossible to find. Yet she longs for such a husband, and the merciless way in which her hope is broken makes for the action of Moore’s most moving novel.
Before the book’s present time, Hearne has spent years caring for her aunt, a selfish, domineering woman whose life, like that of Eveline’s...
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