It tells Kofman’s story of, as a child of Russian Jews, coming to Australia via Israel. In Tel Aviv, her generation of young people lived life as though there was no tomorrow, because in a land of bombs, that was the case.
Melbourne was a sanctuary, with its bookshops and cafes and galleries — once she’d got the courage to explore, English not being her native language and the city filled with strangers. (The Dangerous Bride is her first book in English.)
Overtaken by wonder, I vigorously, like a young horse, clacked my platform shoes upon the wide, friendly sidewalks. The public transport that operated during Shabbat, the cheap sushi, the absence of cockroaches — all these luxuries the locals took for granted filled me with joy. I was amazed at how in Melbourne even police cars drove by quietly. After a while, whenever their sirens did sound, I no longer thought about bombs.
Kofman’s exploration of Australian society and landscape is a strong vein in this memoir, but the focus is on her sexual identity: is it possible to have a successful non-monogamous relationship? She gets caught up with an Israeli known in the book simply as J, who chases easy money in property and business. Escaping him, Kofman ends up with Noah: they have a loving marriage but one lacking in intimacy.
Kofman turns to ‘famous dead people’ for inspiration: Anais Nin (the movie Henry and June was a watershed for her), HG Wells, Iris Murdoch. And she travels, to interview swingers, ‘hunters’ (couples who pick up sex partners), polyamorists, open marriages. She’s looking for the key to maintaining a relationship while still satisfying all-round needs of desire, intimacy, identity.
The book shifts, the chronology of her time in Australia, the changing relationships and eventual second, stable marriage interspersed with flashbacks to relationships past. In particular, the awkward relationship with J takes some unravelling. There is room for rumination on the nature of love and relationships, society’s expectations versus natural impulse. She analyses the non-monogamy of others, looking for the reasons of success or failure, and trying on the templates to see which one best fits her experience. She visits modern social theorists, elements of her academic studies shining through. Arthur Rimbaud’s contention that the poet ‘consumes all the poisons in him’ is a theme.
The honest self-awareness of Kofman’s voice makes this an engaging journey of exploration, at the end of which Kofman has found a comfortable understanding with her new country and — at least for now — her new love.