In her second literary novel, NOTHING FORGOTTEN, (She Writes Press, pub date April 10, 2018), Jessica Levine revisits the archetypal story of a young woman visiting Italy— and being transformed. NOTHING FORGOTTEN has received rave reviews from the San Francisco Chronicle, Booklist, and Foreword Reviews.
Booklist named Levine’s first novel, THE GEOMETRY OF LOVE, a Top 10 Women’s Fiction Title for 2015 and gave it a starred review, saying, “Julia’s emotions, insecurities, and pleasures are laid bare and recall Isadora Wing in Erica Jong’s Fear of Flying....An outstanding first novel.”
When Anna, now living in California, is contacted by the Italian lover she knew decades before, she recalls their affair and the child she gave up for adoption. As the episode returns to haunt her―threatening the life she’s built, including her marriage―the story moves back in time to her youth in Europe.
Rome, 1979. Anna, twenty-two and living abroad, is involved with a man already engaged to be married. When she meets and befriends his fiancée, she is forced to confront the moral consequences of her actions. But an unexpected pregnancy, an anonymous letter, and threatening relatives complicate the picture. A novel in which an unconventional heroine, far from home, is forced to reckon with the judgment of others.
She Writes Press
Publication date: April 10, 2018
Literary Fiction, ISBN 978-1-63152-3-243, $16.00 U.S., 5 1/2 x 8 1/2, 256 pages
The Geometry of Love
Why is it easier for a woman to be a muse than to have one? Are security and inspiration mutually exclusive? Can one be fully creative—in art or life—without the inspiration of erotic love? These are the questions asked in THE GEOMETRY OF LOVE, a literary novel set in New York in the 1980s and Northern California 20 years later, as Julia, a poet with writer’s block, attempts to choose between Ben, a professor at Princeton whom she sees as good husband material, and Michael, a complex and compelling composer who is a catalyzing muse but also a destabilizing influence. Reasoning that Michael is too wounded to make a commitment, Julia turns her triangular situation into a square by setting him up with a cousin. In the process she discovers, as Pascal once said, that the heart has its reasons that reason does not know.
This deeply psychological tale explores the assumptions and fantasies that determine romantic choices as the narrative takes us from one decision in the 1980s to an opportunity to reverse it in the twenty-first century.
Discretion in Henry James and Edith Wharton