interiors

from Jeffrey Eugenides, "Great Experiment" in The New Yorker (2008)

Shabby living conditions wouldn't have bothered Kendall in the old days. He'd liked the converted barns and under-heated garage apartments Stephanie and he had lived in before they were married, and he liked the just appreciably nicer apartments in questionable neighborhoods they lived in after they were married. His sense of their marriage as countercultural, an artistic alliance committed to the support of vinyl records and Midwestern literary quarterlies, had persisted even after Max and Eleanor were born. Hadn't the Brazilian hammock as diaper table been an inspired idea? And the poster of Beck gazing down over the crib, covering the hole in the wall?

. . .

From the street, as he approached under the dark, dripping trees, his house looked impressive enough. The lawn was ample. Two stone urns flanked the front steps, leading up to a wide porch. Except for paint peeling under the eaves, the exterior looked fine. It was with the interior that the trouble began. If fact, the trouble began with the word itself: interior. Stephanie like to use it. The design magazines she consulted were full of it. One was even called it: Interiors. But Kendall had his doubts as to whether their home achieved an authentic state of interiority. For instance, the outside was always breaking in. Rain leaked through the ceiling. The sewers flooded up through the basement drain.