Literary reviews by Tim Love.
Warning: Rather than reviews, these are often notes in preparation for reviews that were never finished, or pleas for help with understanding pieces. See Litref Reviews - a rationale for details.
Showing posts with label Jennifer Egan. Show all posts
Showing posts with label Jennifer Egan. Show all posts

Monday, 31 March 2025

"The Candy House" by Jennifer Egan (Corsair, 2022).

One chapter (story?) was in The New Yorker.

Build

  • The affinity charm - Rich, famous black Bix Bouton (41) is married to Lizzie. They have 4 kids, the last, Gregory (3) is still breastfeeding. He feels empty, lacking ideas. He joins a discussion group under an assumed name, enjoys the banter, finds himself walking through New York at night with pretty Rebecca (c.25). Alone again, he reaches a bridge and recalls how his mates Rob and Drew jumped in, Rob dying. He phones his mother-in-law, asking her what he should do next.
  • Case study: No one gets hurt - Even by the age of 9, Alfred Hollander's "intolerance of fakery had jumped the life/art barrier and entered his everyday world". His brothers Ames (who went into Special Ops) and Miles weren't impressed. He's impressed by Jack, a friend of Ames whose mother had died. At 11 Alfred wore a brown bag over his head. In 2009 he made a 3-hour documentary film free of artifice called "The Migratory Patterns of North American Geese". His parents divorce. His mother has an affair with Jack. Rebecca Amari is doing a PhD about authenticity in the digital era. Kirsten and Alfred start going out. He visits his relatives with her, says something provocative, then they leave to track down Jack. He's divorced with kids. He seems happy. Kirsten tells Alfred (who by now is mocking his film) that Jake is inauthentic.
  • A journey A stranger comes to town - Miles and Drew's PoVs. Miles (52) has an artist cousin Sasha who stole from the family as a kid, returning things when she married Drew. Sasha's boy Lincoln is "troubled". We learn that Miles, with a wife Trudy, 3 kids and a serious job, took uppers and downers, eventually using a drug dealer Damon. He had an affair with Trudy's friend Janna, who in an accident while he was driving lost a leg. He had a metal plate put on his head. Trudy divorced him. He looked after the kids, helping people with rehab. He buys some of Bix's products including Hey What Ever Happened To?™ which lets you download memories as search terms. He sees Bix's memory of Rob's last night. He had a happy enough upbringing. Sasha didn't. He decides to visit her in the desert. Her recycled art pieces are best seen from the air. He and Drew go on a hot air balloon at dawn. Drew saves him when he tries to jump. He spends 3 weeks in a psych ward and ends up living in the area, finding a law job.
  • Rhyme scheme - Lincoln's PoV. He's a metrics expert, a "counter", giving percentage success rates to actions (including the chat-up tactics involved with meeting Madelaine, who he finally marries). Other people are "typicals" or "impressionists". The company he works for has "determined that a new generation of hermit crab programs has been designed specifically to elude our proxy filters" - an inside job. O'Brien, his boss, is sacked.

Break

  • The mystery of our mother - Lana and Melora (born mid-70s) are daughters of a twice divorced father with 4 kids already. He leaves when they're young. He's a record producer with a private beach. When they're 16 she does fieldwork in the Amazon for months. They live with their father. His son Rolph kills himself. She publishes "Patterns of Affinity" (a book of algorithms about human behaviour - she "mapped the genome of human inclinations") in 1999. We're told she's Miranda Klein. She becomes famous. In 2025, aged 74, she disappears, replacing herself by a proxy (an AI program). Her daughters don't realise for a while. Melora takes over her father's business after he has 6 strokes.
  • What the forest remembers - "I" watched the recreated memories of her father on a trip into woods with banking friends. They stay in an A-frame, smoke grass.
  • Bright day - Roxy (child of father's middle marriage - she ODs in 2025 when 57) is in rehab. Chris and Molly (their company is called Modrian) visit to host Dungeons and Dragons, where character details are chosen by dice. She's gifted a Consciousness Cube. She tries to relive a trip with her father to London when she was 17 and appearing on music videos.
  • i, the protagonist - Chris works for Sid's "Sweetspot" which algebra-izes stock narratives. Comstock takes him for a ride on his motorbike, collects a woman from the airport, and leaves him with her luggage.

Drop

  • The perimeter: after - Molly used to live next to Chris Salazar before her parents divorced.
  • Lulu the spy, 2032 - 2-column with 53 numbered sections. How an analytical woman deals with being singled by a male on a Med beach. "The Dissociation Technique is like a parachute - you must pull the cord at the correct time" ... "Return to your body carefully, as if reentering your home after a hurricane". She has an implanted microphone. She's married, 33. She's taken from a party by speedboat with her Designated Mate, who's meeting an important person at a clifftop villa - "If it calms you to imagine your husband tracking your dot of night, then imagine it" ... "An uncomprehending giggle is a beauty's most reliable tool for diffusing conflict". He leaves in a hurry on the boat. She's found by the new host's "alpha beauty". She says she's been dumped. She's taken to the villa. In the night she downloads everything from the host's phone. She's discovered by the woman, who shoots her in the shoulder. She escapes in another speedboat. She dissociates without meaning to, to escape the pain. A helicopter saves her.
  • The perimeter: before Hannah recounts living next to the Salazars. The wife's supposed brother Jules moved in then 9 months later the husband moves out. Hannah's mother and Jules don't get on, then she makes up once she learns more about him.
  • See below - sections have headings like "Lulu→Ashleigh". Lulu, now 35, wife of Joseph has a child. There's talk of reviving a rock group.

Build

  • Eureka gold - through Gregory (Bix's son) we learn of Bix's death and his deathbed uploading. Gregory 'had declined even the ritual "baseline" upload to a Mandala Cube, now customary at age twenty-one as a hedge against brain injuries.' Bix had tried to track down Melanie Klein, then had befriended Chris. In his will he left Mondrian lots of money.
  • Middle son (area of detail) - It's 1991. Mother Sue watches middle son Ames play baseball. She's nervous. He flukes a memorable hit. We learn that he goes into Special Ops, becomes a freelance assassin, then in 2023 aged 43 retires and buys the family house, living with his mother by then divorced for 20 years. We're told about other lives he could have had, and some facts from the Collective. "Even so, there are gaps: holes left by eluding separatists bent upon hoarding their memories and keep their secrets. Only Gregory Bouton's machine - this one, fiction - lets us roam with absolute freedom through the human collective." He dies alone in a nursing home, over 90 years old.

I would have had to read it again to connect the pieces. I should have made more notes - it's hard knowing which details/people will matter later. I liked "Lulu the spy, 2032". The first and final sections were satisfying. I struggled with "See below" and several of the other sections didn't deliver much.

Other reviews

  • Beejay Silcox (explores the loneliness of hyper-connectivity ... a novel of Easter eggs – of hidden in-joke treats ... What felt playful in Goon Squad now feels a little stale)

Saturday, 2 June 2018

"Emerald City and other stories" by Jennifer Egan (Corsair, 2012)

First published in 1989. Stories from The New Yorker, GQ, Ploughshares, etc. The back cover says that "Elegant and poignant, these stories are seamless evocations of self-discovery".

In stories the protagonist is supposed to undergo a change. In the first story, "Why China?", the main character (a father on holiday with his family who meets someone who swindled him years before) undergoes a different change in relation to each of several of the other characters - he befriends his elder daughter, confesses to his wife, etc.

In "Sacred Heart" the working's more visible. Sarah, a ninth-grader at a girls-only religious school, is a "great admirer of Jesus Christ" and has a crush on a new girl, Amanda. She sees Amanda self-harming in the toilet and is invited to help her cut. She does. Sarah doesn't like her step-father, though he's a nice enough guy. She can't bring herself to call him "Dad" or "Julius". Sarah "would gaze at our thin Jesus perched above the altar and think of what violence he had suffered ... And I found, to my confusion, that I was jealous of him". Amanda runs away from school with her drop-out brother. Sarah, at home, self-harms more than she meant to (it's her first time) and has to call for help. Only her step-father's at home. To attract his attention she has to call out "Dad" and "Julius"! Months later she goes to buy shoes for a date with a boy. Amanda's working in the shop. When Sarah leaves, she thinks "I breathed deeply, inhaling the last of her smell, but it lingered, and after several more blocks I realised that what I smelled was not Amanda. It was myself, and this day of early summer".

"Passing the hat" follows the thoughts of a woman who's about to leave the neighbourhood where she brought up a family and belonged to a group of friends who partied, skied, re-married and earned good money. But one of them killed herself. "When it comes to memory, I suppose, we're all passing the hat" ... "I watched her face arrange itself around the cigarette, as if every crease had been formed by this act. Strangely, I had an urge to smoke one myself, which I hadn't done since college" ... "I've become a smaller version of myself, distilled from an earlier abundance I was not even aware of".

Recurrent themes are - blood; affairs that the innocent spouse discovers years later; attempts to recall the details of a significant event that happened years before; meeting acquaintances in unexpected places (China, Spain, Santa Barbara, an out-of-town bar); expectations of fame; ending the first section/paragraph with a story-setting statement ("And of course, I disliked her instantly", p.100; "The truth is, I'll take anything I'm given", p.128).

There's defeatism too - "As I plod back, I am filled with a dismal triumph. I feel relief, the relief of being one step closer to something inevitable. The pleasure of ceasing to resist, of giving up", p.131; "She ... wishes she were daring, risqué, all the things she has never been and will never be", p.150.

As when reading other well-written stories, I got into the habit of noting the "Chekhov's guns". Sometimes I would have preferred surprise to the satisfaction of closure. I liked how the main character's profession in "The Stylist" becomes a metaphor for a way of life. I liked the ending of "The watch trick", the leap in time putting the events into perspective. It made me like the piece more than I did while reading it. I liked "Sisters of the Moon". And the others weren't at all bad.

Other reviews

  • Good reads
  • Chris East
  • Kirkus review (11 somewhat strained stories that seem suited to the glossy venues in which they first appeared (e.g., GQ and Mademoiselle): They're slick if utterly predictable lifestyle studies that entertain very conventional notions of conformity and wildness. Most often, Egan's financially successful protagonists yearn for the simplicity or adventure of their previous lives ... Egan's stronger pieces are told from a young girl's point of view and usually involve some sort of small, if intense, revelation ... The lure of adventure and the lust for wealth in Egan's schematic little fictions are just yuppie fantasies; she seldom gets beyond the cliches of money and personal crisis.)

Tuesday, 21 June 2011

"A Visit from the Goon Squad" by Jennifer Egan (Constable and Robinson, 2011)

In the other reviews (there's no shortage of them) you'll find summaries of the chapters. As a reviewer pointed out, it's hard to say anything new about a book that's already received so much attention. Here are few thematic signposts from those reviews

  • Egan deftly manages to weave strands of time and music together, using bands to evoke time periods we’re all familiar with. Egan particularly stresses the pauses within the musical scores. The pauses represent life’s pauses - our stops and our starts - what she terms our 'not yets'. - Elissa Elliott
  • [Goon] is one character's name for time: "Time's a goon, right? You gonna let that goon push you around?" Everyone in the book is pushed around by time, circumstance and, occasionally, the ones they love - Sarah Churchwell
  • "A Visit From The Goon Squad" is a novel about time, and music, and how the two of them work to make connections across people's lives. ... it is divided into two "sides" (A and B) and it's instructive to think of the chapters as tracks on an album - Jonathan Gibbs

Tracks of an album? Maybe. Several work as self-contained stories (I'd heard "Safari" presented as such before, and liked it). Certainly time's a theme: the stories are often interrupted by memories or flashbacks, and there are some flash-forwards. Since the stories involve the same bunch of people, and the stories (spread over 40 years into the 2020s) aren't presented chronologically, one story can foretell or introduce another. The author admits to being influenced by Proust and The Sopranos. Others see some Pulp Fiction in there too.

In the first chapter, "Found Objects" (a good story), the initial narrative turns out to be a recollection. The "present" is where Sasha is with Coz her therapist. The style of the stories rewards readers looking for meanings in the details. Why "Coz"? Maybe because "Coz = Because", a keyword for therapists. The initial narrative is revisited, and other memories are interjected. Attention flicks between narrative frames, often triggered by an emotion the 2 frames share. Sasha remembers stealing an old piece of paper from a one-night-stand's wallet. Written on it was "I believe in you". While she's thinking about whether she should have returned it, we're jolted back to the present with "And did you? Put it back?" Coz asked. We meet the victim again in the final chapter. The story makes the point that the therapist and patient together construct a narrative, play the game expected of their roles. "Therapist/patient = Author/reader?"

The writing can be fast and dense. Take this paragraph for example (p.87)

Kids I remember from high school are making movies, making computers. Making movies on computers. A revolution, I keep hearing people say. I'm trying to learn Spanish. At night, my mother tests me with flash cards.

or this (p.100)

As I looked up at him, I experienced several realizations, all in a sort of cascade: (1) Bennie and I weren't friends anymore, and we never would be; (2) He was looking to get rid of me as quickly as possible with the least amount of hassle; (3) I already knew that would happen. I'd known it before I arrived; (4) It was the reason I had come to see him

Several of the characters have obsessions - stealing, gold flakes, etc. In "X's and O's" Scotty has trouble seeing spectra: things are either White/Black or all grey. He meets someone he's not seen for years, says 'I came for this reason: I want to know what happened between A and B'. If he's looking for cause and effect I think he might be disappointed: things happen in the pauses, fall into the cracks. One thing I like about Egan is that she's more digital than analogue - no impressionistic mood music. Details form the foundation of her work.

Sections 7 and 13 have a function in the novel but in themselves are the least strong. One section's in the 2nd person, another's a Powerpoint-like presentation. Section 9 has long footnotes and a style that reminds people of David Foster Wallace. I didn't find the book strikingly original (even the Powerpoint chapter has forbears), though I agree it's bold and successful, introducing some non-mainstream ideas to a wider audience. The book could maybe do with an index. I wonder if the chapters could have been chronologically ordered. It would have helped a few readers. There's perhaps enough to-ing and fro-ing in the chapters as they are - in "Safari" for example we're told what will become of the main characters in the decades to come.

The book ends with "But it was another girl, young and new to the city, fiddling with her keys". With so much music in the book, the use of "fiddling" and "keys" comes as no surprize.

Other reviews

Tuesday, 8 March 2011

"The Keep" by Jennifer Egan (Abaqus, 2007)

In Parts I and II two threads alternate: about Ray's prison life plus writing course, and the story he's written about Danny King. I hadn't anticipated the narrational twist at the end of Part II. In Part III he's escaped and has sent the story to Martha, his writing teacher (who's younger than she is in his narration, and much younger than the Baroness in his story - though the Baroness seemed young sometimes). Martha is taken in by 2 policemen, one of them Pete Konig ("King" in German). Coincidences and connections abound - pools, escape tunnels. Too tricksy? No - it's fun trying to match up the characters in the different narratives.

There are various authorial (but who's the author?) interjections - e.g.

  • "He was heading into memory number two, I might as well tell you that straight up, because how I'm supposed to get him in and out of all these memories in a smooth way so nobody notices all the coming and going I don't know" (p.11)
  • "Bottom line: Danny didn't know why he'd come all this way to Howie's castle. Why did I take a writing class? I thought it was to get away from my roommate, Davis, but I'm starting to think there was another reason under that.
    You? Who the hell are you? That what someone must be saying right about now. Why, I'm the guy talking. Someone's always doing the talking, just a lot of times you don't know who it is or what their reasons are.
    " (p.17)
  • " Now wait a minute, someone's got to be saying. Three pages ago Danny had been awake almost ten minutes, and now you're telling us it's forty-five?" (p.124)
  • "someone's got to be wondering: (1) Was he ever really outside, or was it all just a dream? (2) Has he seen Howard since he got back (or dreamed he got back) to the castle? (3) Which part of Danny won the argument, the part that blamed everything on Howard or the part that blamed the worm? And I wish I knew how to sprinkle these answers around so you'd get the information without ever noticing how you got it, but I don't. So I'll just stick them in when the time seems right. Danny headed down the hall between the rows of electric candles. He was careful to walk, not hobble [Answer number 1: It wasn't a dream" (p.155)

Other reviews

The book's been quite heavily reviewed. The reviews dwell on the plot. A number of them question the need for the final part. I didn't mind it, though I was hoping that Martha might ask herself more of the questions that the narrator thinks "someone" will ask. A few reviewers query the intrusions. To me, the novel's not very meta-fictional. When the satellite dish sank, I expected the ghosts to communicate. I expected Danny's thrown cell-phone to have fallen there too so that the past (and its genres) could more easily communicate with the present. I didn't find the book as moving as some other readers did. But I guess it does manage to combine various types of novel while remaining readable.

Sunday, 30 January 2011

"Look at Me" by Jennifer Egan (Picador, 2002)

It begins

After the accident, I became less visible. I don't mean in the obvious sense that I went to fewer parties and retreated from general view. Or not just that. I mean that after the accident, I became more difficult to see.
In my memory, the accident has acquired a harsh, dazzling beauty: white sunlight, a slow loop through space like being on the Tilt-A-Whirl (always a favorite of mine) ...
The truth is that I don't remember anything

which is fast-paced, with twists and asides. It takes a long while to recover that pace. It didn't pick up for me until Michael was introduced.

Charlotte Swenson, a model we meet in the first-person, has an accident and her face reconstructed until she's unrecognisable. She sleeps with Anthony Halliday, a detective. She gets involved with a Reality website which requires her life to be written up and filmed. Irene, who's not really a reporter but an academic, writes her life up. By p.329 Charlotte mixes her thoughts with the anticipated write-up.
Charlotte Hauser, a schoolgirl, initiates an affair with a teacher, Michael. Later she introduces herself as "Melanie" to an ex-lover.
Moose, Charlotte's uncle, has had a personality change (nervous breakdown). Charlotte chooses to have private lessons with him about local history. On p.293 he thinks back to what caused his breakdown.
Charlotte's Hauser's mother has had an affair and is gently rebuffed when she tries to restart it. I'm not sure why she's there, except that she used to know Charlotte Swenson.

The theme is transformation. "You seem different", says Abby to Michael (p.301), but just about everyone's changing - looks, identity or personality. People are curious about the causes and nature of the changes (internal or external) that they and others undergo. On p.308 Michael recounts a film plot idea that picks up many of the hints we've been given about him. On p.342, Michael thinks about Aziz. I suspected the Michael/Aziz/Z connection fairly early. At the end I thought Moose was going to crash at the place where the initial crash was being recreated. I liked the final chapter.

Schematically it works. The transformation theme links with a visibility theme. The main character's a model whose life depends on being visible (hence the title) but after the accident she wants people to look and not recognise her. She wants a new start. In the end she gets it. Charlotte Hauser wants to be noticed by boys. She too wants a new start and changes schools. Aziz's organisation wants to be noticed. He undergoes several transformations.

The pace quickens but I think the first 100 pages are too slow. Throughout there are some neat turns of phrase (sometimes from unexpected - perhaps inappropriate - personae)

  • "I careened from my apartment at midnight, leaving behind a Daliesque assortment of clothing sliding from lamps and furniture, along with a skyline of empty bottles" (p.152)
  • "After a few remarks on how well it had gone, we lapsed into silence, our camaraderie loosening, falling away as it doing did in the absence of other people, replaced by a mutual knowledge that was deep, but not warm" (p.331)

Other Reviews