Our selection of reviews this week features Erin Somers discussing Taffy Brodesser-Ackner’s Long Island Compromise, Christian Lorentzen reviewing Tony Tulathimutte’s Rejection, Daniel Felsenthal critiquing Gary Indiana’s Horse Crazy, Ryan Ruby analyzing Rachel Kushner’s Creation Lake, and Mary Turfah sharing her thoughts on Ang Swee Chai’s From Beirut to Jerusalem.
Presented by Book Marks, Lit Hub’s hub for book reviews.
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“The events depicted in this book could easily form the plot of a novel on their own. However, they serve as just the beginning of a complex family drama set in suburban New York, delving into the secrets that lie beneath the surface. While one might anticipate more action and intrigue to unfold, Long Island Compromise shifts its focus towards exploring the lasting impact of these initial events. Themes of wealth, class, Jewish identity, and family dynamics are introduced early on but seem to lose clarity or fade away as the story progresses. Instead, the novel heavily relies on backstory, using flashbacks to establish characters and pivotal moments that shape their identities, even those predating their existence.
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Brodesser-Ackner’s narrative delves into the privileged worlds of the upper class, from Manhattan’s elite private school scene in Fleishman to the gated communities of suburban life in Long Island Compromise. While these books aim for comedic elements and offer astute social observations and detailed descriptions, they fall short of being satirical. Any critique of the affluent lifestyle is softened by the recurring justification: these individuals act as they do due to past hurts.
If Fleishman Is in Trouble epitomizes the ‘What happened to her?’ narrative, exploring women’s struggles under patriarchy, then Long Island Compromise could be seen as a ‘What happened to them?’ story, focusing on the foundational trauma that shapes a family’s dynamics. As [Parul] Sehgal cautioned, even the most dramatic plot points begin to lose significance in light of such trauma. The novel’s tension fades, leaving the impression that everything crucial to these characters has already occurred. What drives the reader to keep going?
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Insights into the Jewish experience and identity feel somewhat superficial and added as an afterthought, making it challenging for readers to link the Fletcher children’s misbehavior to the Holocaust. The book doesn’t delve deeply into Jewish trauma as implied, but rather explores a single family’s struggles and the alleged—though not always convincing—ways they have shaped their lives. By the end, the reader is left with a portrait of their suffering rather than a clear understanding of who the Fletchers truly are. The narrative suggests that one’s hardships define their essence, echoing an age-old concept, but is it accurate?”
–Erin Somers on Taffy Brodesser-Ackner’s Long Island Compromise (The Nation)
“Tulathimutte’s exploration of deeper themes in Rejection, beyond the experiences of the rejected and the distortions of online interactions, raises questions about the boundaries of realism and fiction. He has previously noted that the ‘rejection plot’ inherently involves elements of the counterfactual because the rejected individual mourns a life that never materialized and will never come to be. When online fantasies are added to the mix, we find ourselves distanced even further from reality. In 1961, Philip Roth remarked on how reality constantly outpaces our abilities, with daily cultural phenomena that surpass any novelist’s imagination. He referred to characters and events that could be found in newspapers, on the radio, or on television.
Today, the internet strives to outdo itself each day, presenting numerous figures that quickly fade from memory, some of whom we wish we had never encountered. Tulathimutte acknowledges this disposability yet populates his book with unforgettable characters. He places his work in direct competition with the transient yet impactful online realm, a subject he explores in depth. He recognizes that the internet he portrays and its significance are fleeting, primarily relevant to his generation, the millennials, while Generation X (like myself) never truly embraced it as ‘real,’ and Gen Z has moved on to platforms like TikTok…
It’s intriguing how Rejection, a dark comedy of manners, stands in stark contrast to the works of the current popular Anglophone novelist known for their polished and elaborate prose. Instead of simplicity and restraint, Tulathimutte’s narrative is intricate and maximalist; rather than sincerity, it adopts irony and cynicism towards politics. It eschews idealized romantic outcomes in favor of a harsh reality. For once, the American characters appear more dysfunctional than their Irish counterparts.”
–Christian Lorentzen on Tony Tulathimutte’s Rejection (Bookforum)
“Horse Crazy stands out as one of the finest American novels exploring obsession, largely due to the protagonist’s aversion to Gregory, the object of his desire. The narrator subjects Gregory, his lustful obsession, to the same critical inner monologue reserved for all aspects of his life. Despite Gregory’s pristine exterior, he embodies everything that repulses the protagonist: an up-and-coming photographer whose pretentious, expensive prints are sourced from pornographic magazines, a fact he vehemently opposes, much to the narrator’s annoyance.
Gregory is eloquent, yet his words often ring hollow, filled with clichés and shallow psychological insights absorbed through youthful exposure. The narrator despises Gregory’s taste in music, his artistic viewpoints, and eventually, even his charm. The only instance where the protagonist briefly appreciates Gregory’s persona is during a visit to a thrift store, where Gregory deliberately selects outrageously garish clothing to provoke the sensibilities of the restaurant where he works, a gesture the narrator finds amusing.
Overwhelmed by a rare surge of emotion, the narrator in love tenderly removes some freshly fallen snow from his beloved’s hair.
In « Horse Crazy, » love is depicted as transactional, one-sided, unconsummated, and harsh, pulling the protagonist out of his dreamy solitude and into the harsh reality of the present. The less desirable aspects of Gregory’s character mirror the city and era in which Indiana’s fiction is set.
Gregory’s critical views on sex humorously reflect the cultural conflicts present in the United States during the publication of « Horse Crazy. » While the protagonist and potentially Indiana himself found these issues tiresome and worrisome, they also encouraged him to step out of his comfort zone, offering the faint hope of becoming a participant in love rather than a mere observer, thereby shedding his former self.
Despite dismissing concepts like love and hope in his works, Indiana’s intention was not to deny their existence in his life or work, but rather to prevent them from being used as superficial solutions to deep societal issues and symptoms of the human condition. In « Horse Crazy, » his unwavering skepticism forces readers to confront the alienation brought on by an era marked by deadly diseases, rampant capitalism, erased cultural heritage, and widespread substance abuse. The novel’s true affection lies with what cannot be restored: a world untainted by illness and untouched by wealth. Indiana’s commitment to truthfulness lay in responding exactly as his time demanded. The diminishing remnants of avant-garde New York—writers, critics, artists, filmmakers, and dancers who have survived since its peak—feel less vibrant today without his disdain.
In « Creation Lake, » Sadie, a typical character in Kushner’s works, possesses traits that make her stand out. Similar to other characters in Kushner’s novels, she is pragmatic and transactional in her approach to love and sex, a trait that can be either burdensome or enjoyable depending on the situation. She is also known for her detailed explanations of various subjects, reflecting the author’s thorough research.
Kushner simplifies the multiple narrative perspectives seen in her previous works by using a single first-person narrator in « Creation Lake. » Espionage serves as an ideal profession for such a narrator, blending partiality and omniscience in a believable manner. However, Kushner intensifies Sadie’s cynicism to the extreme, creating a character that may appear more interested in sparking debates than in creating a realistic persona.
« From Beirut to Jerusalem » recounts Ang’s firsthand experience during the 1982 Sabra and Shatila massacre, shedding light on the intersection of medicine and politics during times of crisis. Ang’s reflections on the massacre highlight the unchanging nature of Israel’s actions over the years, emphasizing the need for doctors to acknowledge the political implications of their work. Ang’s commitment to addressing the political aspects of medicine, even at the risk of compromising her objectivity, underscores the importance of considering the larger context in which medical care is provided. En octobre 2023, des médecins à Gaza ont inventé une abréviation glaçante pour répondre à un besoin sémantique sans précédent : WCNSF, « enfant blessé, sans famille survivante ». Quelle est la situation de la famille d’un enfant en voie de guérison ? Eh bien, tout. »
La tragédie des enfants seuls
Ces mots poignants ont été cités par Mary Turfah dans sa critique du livre « From Beirut to Jerusalem » d’Ang Swee Chai. Ils reflètent la réalité déchirante des enfants qui se retrouvent sans famille après avoir été blessés. La signification de WCNSF résonne comme un cri de détresse, soulignant la tragédie humaine qui se déroule dans la région.
L’importance de la famille dans la guérison
Dans ces circonstances tragiques, la famille d’un enfant blessé joue un rôle crucial dans sa guérison. Leur amour, leur soutien et leur présence sont essentiels pour aider l’enfant à se remettre de ses blessures physiques et émotionnelles. Sans cette unité familiale, l’enfant se retrouve confronté à un chemin difficile vers la guérison.
Un appel à l’action
Les mots de Turfah soulignent l’urgence d’agir pour protéger les enfants vulnérables qui se retrouvent seuls après avoir été blessés. Ils rappellent que la famille est le pilier sur lequel repose la guérison des enfants. Il est essentiel de reconnaître et de soutenir ces familles dans leur rôle crucial pour assurer le bien-être et la guérison des enfants touchés par la violence et la tragédie.
