Helen had always imagined that by the time she turns forty she'd have her life sorted: she'd have the job in PR she wanted, a lovely apartment in London and a man to share it with. So there was plenty of time to travel the world and go out drinking with her best friend Rachel. Now Helen's thirty-nine and waking up to the fact that none of her expectations in life have come about: she lives in a basement flat; she's stuck in a second-rate PR firm as a lowly personal assistant; she's invented a boyfriend called Carlo to keep her parents happy; and she's wasted the last four years on a married man who'll never leave his wife and children - a man twenty years older than her who was also her boss, a director at the PR company.
She's begged Matthew for years to leave the marriage he's always insisted is empty, but when he suddenly turns up at her flat after Christmas telling her he's left his wife, Sophie, and brought all his stuff to move in with Helen, she realises it's not what she wants at all. In fact, now that Matthew is here in her small home, every day, crowding her, making it impossible for her to do all the things she loved doing in her time alone (time that had previously seemed so depressing), Helen ceases to love Matthew altogether. The affair and broken marriage eventually leaks out at work and Helen finally admits that she has to change her life, starting with her resignation. But when she tries to break up with him, he becomes pitiable and she lets him stay.
Getting rid of Matthew isn't going to be as easy as telling him it's over, though. Curious about his wife, Sophie, Helen inadvertently ends up befriending her and learning all about what Sophie's going through as the woman left behind. (The irony that Matthew had had an affair with Sophie while married to his first wife, Hannah, isn't lost on Sophie.) Pretending to be called Eleanor, Helen tries to encourage Sophie to take Matthew back, while her own life gets messier and messier - especially when she finds herself attracted to Matthew's adult son, who she'd never met before Sophie introduced them. But as Helen learns more about Matthew through Sophie, she also realises she likes Sophie a lot more than she expected to, leaving her with the question: does she want her new friend to take Matthew back, really, knowing that he lies and that he'll never change?
In the first few pages I was a little hesitant about this book, because the way Helen's life is described seems so depressing. I worried that the entire story would be a drag on my spirit. But quickly enough Fallon's smooth, understated, ironic sense of humour shows through, and you know you're in for a great story. I then read in the back that Fallon is a producer on the TV shows Teachers and This Life, two shows I used to watch when they were on and absolutely loved (Teachers especially - wish I could get hold of that on DVD!). So my respect for her went up even higher.
It's hard to get across how much I enjoyed this book, seeing as it is after all about a woman who steals another woman's husband - although, the underlying theme that is sometimes voiced but never tackled (because it never is in real life), is that Matthew's the one who cheats, who approaches women at work and propositions them. He makes no secret about the fact that he's married, and you could say that the women who take him up on it are in some way weak, insecure, flattered (Helen learns that she wasn't the first woman he approached at the company, but she was the only one who let herself be seduced by him).
But let's be clear: Helen is not painted as an innocent woman. She knows her affair is wrong, but while caught up in it the mind works differently: this, to me, felt absolutely real and true to human nature and the way our emotions and minds work. There's such clarity about Helen and Sophie, whose perspectives dominate the narrative (Matthew gets a few bits throughout, but it's largely told from the two women's perspectives). And when Helen "wakes up" to her life, the lies she lives and the damage she's done, she's even more real. How do you get rid of a boyfriend you're no longer interested in, but who seems like they'd fall apart if you tried to break it off? I've certainly experienced that before, and Helen's distaste for Matthew's personal habits once he lives with her, once it becomes "real" rather than an affair, is comical because it's so familiar. Fallon does a fine job of balancing sympathy with "just desserts": Helen does deserve it, after all.
The narrative is a perfect example of how to use past tense instead of present tense, to deliver the sense of immediacy, an "in the moment" feel of unknown futures, of open possibilities. I've read too many books (mostly YA) that use present tense but fail to convey any of that, and should have used past tense (The Hunger Games and Wither, for example). I greatly admired Fallon's skill in writing this, her debut novel. It reads like a more sophisticated, more mature, more ironic and sharp-witted Sophie Kinsella novel. But could we stop calling all books about women's relationships, "chicklit"? To my mind, there's a certain flippancy to the term "chicklit", a scornful derision, an understanding that it's not "high brow". I just think that the term is hugely dismissive, a kind of pulp fiction designed for vacuous women (not necessarily true, but that's the connotation it has).
Getting Rid of Matthew is an insightful, intelligent and astute examination of modern-day women in the big city, their hopes and aspirations, their fears and insecurities, the stereotypes and double-standards still out there (the scenes in Helen's office are almost unbelievable and must surely be peculiar to England). It is also the story of a woman who put too much stock in the illusion of a kind of life, and too much emphasis on having a man in her life. It's not an anti-man novel by any means, but you could read it as a cautionary tale: Helen fucked up her life and another woman's too (not to mention Helen-from-Accounts) because she was stupid and lonely and what-have-you. I chose to read it for entertainment, but also as a fantastic study of these two women's psychology. They're not representative of all women, but they feel so familiar.
I pretty much devoured this book and actually felt somewhat bereft when I finished, as I had really come to like Sophie and Helen and, like a good TV show, wanted to keep watching. I became hugely invested in this story, and was absorbed in watching Helen grow and mature and become a better person. It got to the point, when she meets Matthew's son, of being a bigger mess than Becky Bloomwood's average day, and I wanted so much for things to work out but couldn't for the life of me see how they could.
Recommended to anyone interested in reading a mature, original and ironic take on poorly-thought-out relationships, a drama story without the soap.
Final note: They are making a movie of this book and I'm not in the least bit surprised - if the screenplay and acting are good it'll be a great movie! (But hard to say, as Jennifer Aniston is in it and she's a mixed bag to say the least.)