In the novel by Erin Somers The Ten Year Affair, we meet a millennial mother named Cora, a millennial mother who desperately wants a type of romance from another era with a bygone kind of man. Unfortunately for her, the modern ethical landscape is rigid and cynical, so rather than embarking on the affair, Cora devotes 10 years overthinking it, fantasising about it and discussing it with the object of her desire, Sam – a father from her child's circle who holds the title “chief storytelling officer” at a mortgage start-up. The book positions itself as a comic take on the classic adultery novel and a sharp satire of a narrow, self-conscious group of economically slipping New Yorkers. It stands as the definitive narrative of middle-aged unfaithfulness this current cohort has coming: a propulsive, witty takedown of unbearably anxious individuals who’ve somehow spoiled even sex.
The central couple, Cora and Eliot are smug, overeducated Brooklynites who, as costs increased and their family expanded, have relocated with hesitation to the suburbs. Caught in the “exhausting constant demands” of parenthood, they juggle desk jobs, a pair of kids, and a persistent mushroom proliferating beneath their bathroom tiles which they cannot afford or muster the will to fix. Their social circle other smug, overeducated Brooklynites who have fled the city to sip craft cocktails out of mason jars and critique one another closer to nature. But if Cora is lonely here, it’s not because her fussy, lifeless lens but because her suburban peers are “boring and self-absorbed, even more so than in their previous urban life”.
Her husband Eliot remains intellectually lofty and utterly unaware. He eats popcorn while she cleans vigorously and says he doesn’t wish to possess her. Cora imagines them attempting to endure with Eliot in the woods, doing laundry by hand while he searches for chanterelles. She deeply desires drama, some moral abandon, a partner who will plead, and worship, and “growl at the feet of the woman’s excellence”.
"The shabbiness of real life, one must acknowledge its relentless predictability."
The trouble is that Cora is just as intellectually constrained as her husband, and incapable of that kind of abandon herself. She finds it "an overwhelming request to feel fervor" (about work, she claims, but really about everything). Her feelings for Sam are “tepid, barely beyond simple fondness”. She craves “a transcendent physical experience and not think about her life for a second”. Yet, for a decade, Sam demurs while Cora languishes. She imagines an alternate timeline alongside her real life, where instead of bills and school pickups, she has passion, luxury, and her imagined lover. When her fictional romance fizzles, she imagines “a French guy named Baptiste” who teams up with Sam in assisting her from the tub, “nothing for her to do, no tasks, no obligations, except to be worshipped like someone’s teenage wife, who’d died improbably of TB”.
When they eventually succumb to temptation, the sex is sad, without much play or complicity. It fails to be the nostalgically perfect affair she dreamed up for a full decade. Cora puts on a slinky dress and Sam “performs oral sex with grim determination in their hotel room” before dinner. The reader senses that Cora desires to inhabit a certain type of literary world, where intimacy is messy and ambiguous, where the power dynamics are unequal, and characters act out, and nobody keeps score.
Somers consistently suggests the root of Cora’s problem: she has such cutting wit, but a profound lack of happiness. Of Sam’s erotic photo, Cora complains, “he has clenched his abs and ensured he was aroused, but failed to remove his casual footwear from the shot”. Given that the catalyst that diminished their pleasure was having children, one worries about what these idiots are doing to their children. As her daughter inquires about sex, the parents stumble. They start with babies then acknowledge that sex serves other purposes. Eliot mentions a penis then admits it is not essential. Ultimately, he settles for, “you know genitals?”
Beneath the story runs the subtle undercurrent of common existential queries of midlife: do our lives have meaning? Where do we go after death? These ideas are more directly explored in Cora’s imagined conversations. Reading these exchanges, the reader may ponder what lesson Cora and her jaded circle would derive from their disappointing dramas. Would Cora grow more open to life’s flawed pleasures, its corny pleasures? When Eliot asks about her affair in the middle of a podcast about rope, Cora reflects “all meaningful communication is undermined by its particulars”. Others could argue it's enriched. But that’s not Cora, and Somers doesn’t give the protagonist easy revelations, or force growth beyond her capacity.
The result is an incisive, hilarious, exquisitely detailed novel, written with devastating precision. It is profoundly self-aware, economical yet rich with implication: a depiction of an anxious, loin-girding generation in middle age, chronically embarrassed, simultaneously terrified of and hungry for intense experience. Perhaps this is solely a metropolitan trait. For the sake of argument, we'll assume so.