Liberty

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Overview

Just in time for the Fourth of July, a firecracker of a Lake Wobegon novel from bestselling author and radio storyteller Garrison Keillor

Published to wide and enthusiastic acclaim, Liberty is Garrison Keillor's most ribald Lake Wobegon novel yet, set in a spectacular Fourth of July celebration amid marching bands and circus wagons drawn by teams of Percherons. The Chairman of the Fourth, Clint Bunsen, is in the midst of an identity crisis brought on by a DNA test just as he turns sixty, and he finds solace in the arms of Angelica Pflame, the young beauty who marched as Liberty in last year's parade. Should he remain in Lake Wobegon with his stoical wife Irene or fly to California with Angelica? Liberty is Keillor at his knowing, deadpan, raconteur best.

Editorial Reviews

From Barnes & Noble
Until now, people in Lake Wobegon thought of Clint Bunsen as the friendly neighbor who jump-starts their cars in freezing weather or the guy who works hard every year to put together the local Independence Day parade. Now, to the astonishment of his neighbors, he's become some kind of celebrity, or at least a celebrity in waiting. To local folk, Clint is a nice guy, but his plans to run for Congress seem plum loco; they know about his losing battles with vodka sours, his rocky marriage, and his embarrassing dalliances with the nubile young woman who plays the Statue of Liberty at the Fourth of July gala. (Some good townspeople even wonder if she's wearing anything under her Miss Liberty robe.) As this year's festivities approach, the national holiday seems to be taking on new meanings that old Tom Jefferson never dreamed of. Another delightful epic from Minnesota's favorite mythical community.
Carolyn See
A legitimate question arises here: Why has the publisher released this goofy little novel in September, rather than June, in time for the Fourth of July? Because, perhaps, this is actually a story about the coarseness, vulgarity and naivete of the U.S. presidential elections. Keillor's genius lies in the fact that after you finish reading this, you don't despair. He makes a strong case for the innate decency of the ocarina players, pig-manure vendors and even an odious governor and would-be member of Congress as they sweatily pursue their political ambitions.
—The Washington Post
David Kirby
Like Mark Twain, Keillor takes time to spell out details and, in so doing, convert the base metal of small-town tedium to the gold of comedy…Storywise, Liberty doesn't dazzle, nor is it intended to. As in most leading-up-to-the-event novels, the action moves in just one direction (an author can do only so much with flashbacks), and convention requires that there be lots of complications but that things turn out O.K. in the end, which is what happens. Liberty excels at portraiture, not plot.
—The New York Times
Publishers Weekly

Clint Bunsen of Keillor's Lake Wobegon is planning his sixth Fourth of July celebration, but by the time it rolls around he's been booted from the planning committee; his wife, Irene, is chillier than ever; and his 60-something hormones have him lusting after the much-younger Angelica Pflame, whose "commando" performance as the Statue of Liberty in last year's parade is still a hot topic in the sleepy burg. In other words, everything's as you'd expect in a Keillor novel. There are quite a few subplots bubbling along quietly until everything erupts in a madcap denouement that combines elements of the Keystone Kops, I Love Lucy and Monty Python. Keillor's pacing and command of smalltown plot is impeccable; just at the moment when Clint's obsession with a genealogical discovery has become unbearable, the rug gets pulled out from under him. It's a Keillor novel that does what Keillor novels do: entertain and color nicely within the lines. (Sept.)

Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Kirkus Reviews
One of the funnier Lake Wobegon novels might be the saddest as well. The farcical note on which the book opens gives no indication of the tragic undercurrent to come. In the latest from radio's A Prairie Home Companion tale-spinner Keillor (Pontoon, 2007, etc.), town mechanic Clint Bunsen has become too dictatorial in his role as chairman of Lake Wobegon's Fourth of July festivities, or so his hometown critics contend. Though his increasingly ambitious spectacles attracted the attention of CNN the previous year, some question the expense involved in luring attractions such as the Leaping Lutherans Parachute Team and the Fabulous Frisbee Dogs of Fergus Falls. "It is not easy trying to sell grandeur and pizzazz to a bunch of sour old pragmatists," grumbles Clint, particularly when so many citizens find their own roles in the celebration diminished. The very soul of Lake Wobegon is at stake, though the Minnesota hamlet is no longer a refuge from the outside world. Depression increasingly dissolves into a pharmaceutical haze, and teenage girls now dress like junior trollops. Ousted from his chairmanship, Clint takes stock of his life, discovering in the process that he made a huge mistake coming back to Minnesota from California after his discharge from the Army, and that his marriage to his hometown sweetheart was more from obligation than love, "[a]s if he were in a play written by someone who didn't like him." He finds the road not taken through the Internet, where he connects with a clairvoyant (who may also be a stripper) some 35 years younger than he. Their improbable affair throws Clint's life, his marriage and his hometown into turmoil, culminating in his last holiday as chairman. Itwould be easier to laugh if the novel didn't invest Clint with such pathos and his wife with such devotion. On the Fourth of July, will Clint choose liberty or responsibility?"Living in Lake Wobegon was like being stuck in a bad marriage," thinks Clint, leaving the rest of the novel to resolve whether the Bunsens' marriage is worse than most.
The Barnes & Noble Review
Had she not become a writer, it is easy to imagine Marilynne Robinson might have been a theologian instead. Or, perhaps it is fair to say that she is both. Throughout her concise body of work, Robinson has mined the traditions of American spiritual literature, harkening back to an earlier cultural landscape where religion, and American Protestantism in particular, didn't carry with it its current political animus -- the evangelical's fervor versus the ironist's disdain. Robinson, in her essay collection The Death of Adam, has been blunt about her interest in restoring the legacy of Calvinism and about the family as its site of restoration. There is, throughout her prose, a heightened sensitivity to the possibility of grace, and of human connection as its own kind of redemption. "Imagine that someone failed and disgraced came back to his family," she writes in her essay "Family," "and they grieved with him, and took his sadness upon themselves, and sat down together to ponder the deep mysteries of human life. This is more human and more beautiful, I propose, even if it yields no dulling of pain, no patching of injuries." In a way, Home is this imagining -- a novel no less nuanced, no less morally conflicted for the current of devotion that forms its center.

Home takes its place alongside Robinson's 2004 novel Gilead. Less its sequel than its counterpart, it tells the concurrent story, set in 1956, of Reverend Robert Boughton, best friend to Gilead's narrator, John Ames. Where Gilead was a self-reckoning in the guise of an epistolary novel -- it takes the form of a letter to Ames's young son -- Home is a structurally more traditional, simmering novel about the fragility, and endurance, of familial bonds. Here, Ames recedes into the background as Robinson shifts her focus to Boughton's wayward son Jack, who has returned home after a 20-year absence just as his father's health begins to fall into an irreparable decline. Jack will be familiar to readers of Gilead; in that novel, he played Ames's moral foil, the man whose presence reveals the blind spots in the reverend's seemingly boundless capacity for grace. Also returned to the family homestead is Jack's younger sister Glory, who has come to nurse the ailing Boughton and, more painfully, to seek refuge from a failed engagement. The coincidence of their homecomings gives rise to an unlikely friendship between the two siblings; Glory, with her preternatural sensitivity, proves the only person able to draw out Jack, whose guarded manner and sardonic evasions do little to conceal the ravages of his alcoholism and troubled childhood.

Robinson's nonfiction tends to offer safe harbor for some of history's scorned souls: figures like John Brown, John Calvin, and Karl Marx, whose legacies, she feels, have done them wrong. Though hardly a figure of historic import, Jack Boughton has his place here, too -- he is a man who, after Ames's fraught indictment over the course of Gilead, would seem to need his own literary rehabilitation. In Ames's portrait, Jack "doesn't have the look of a man who has made good use of himself," whereas for Glory this very wastedness is a spur to compassion, however wary:

Twenty years was long enough to make a stranger of someone she had known far better than this brother of hers, and here he was in her kitchen, pale and ill at ease and in no state to receive the kindness prepared for him, awaiting him, even then wilting and congealing into the worst he could have meant by the word "lunch." And what an ugly word that was anyway.

Like Robinson, her characters are attuned to the latent cruelties of language. The Boughton household is one in which emotional openness must compensate for verbal withholding. Even more than Housekeeping and Gilead, Home is a novel that operates by elision (perhaps because, unlike the two prior works, Home is written in the third person). This desultory quality is as much a result of Robinson's delicately tender prose as it is the inwardness of her characters. Glory, whose perspective largely governs the narrative, is circumspect about her own past. While the specifics of her fiancé's betrayal are never quite laid out in full, her homecoming nonetheless marks a stark counterpoint to the life she had imagined: "She had dreamed of a real home for herself and the babies, and the fiancé, a home very different from this good and blessed and fustian and oppressive tabernacle of Boughton probity and kind intent."

Kindness is invoked by the Boughton family with an almost incantatory repetition -- Jack, in particular, acknowledges his sister's gestures of care as a way to close out conversation. "Thanks, Glory. That's kind," Jack will say, releasing her from any attempt to absolve the sins of his younger days just as the dialogue begins to touch upon the wrongdoings of his past. This is not to say Jack is insincere -- quite the contrary, as Robinson is a master of authorial empathy -- but that his family's forgiveness is as much a source of pain as it is a relief. Jack seems incapable of believing himself worthy of the unconditional love his sister and father, still devout Presbyterians where his own religious upbringing has failed him, offer so unabashedly.

Home is, in many regards, flesh on the skeletal plot of Gilead. Where Gilead looked backward into the Midwest's abolitionist past, Home tends to linger in the present. Again setting her novel on the cusp of the social upheavals of the 1960s, Robinson this time pulls the politics of the age into a more ready backdrop. As we know from Gilead (but Glory and Reverend Boughton do not), Jack's common-law wife, Della, from whom he has separated under pressure from her family and the force of his own dissipation, is black. The incursion of a television into the household brings the simmering conflict between father and son -- a difference in worldview and temperament without any tangible cause -- to a head. When Jack grows indignant over a news report about what can only be Autherine Lucy's expulsion from the University of Alabama in that year, the reverend's best attempt at diplomacy is to remark, "I have nothing against the colored people. I do think they're going to need to improve themselves, though, if they want to be accepted." As she has so often over the course of her work, Robinson appears to be again offering a subtle jab at the failure of contemporary Protestantism to make good on the progressive legacy of its abolitionist forebears.

Home is not in any strict sense a political novel, but one that takes place unavoidably in a world whose complexity is beginning to outstrip what the Boughtons' Presbyterian upbringing has prepared them to accommodate. Jack and Glory, bonded together by the failures of their respective pasts, share a sense of "the gradual catastrophe" of entry into the broader world. Robinson puts forth her own question: "What does it mean to come home?" For both the Boughton children, there is no easy answer. Their return to Gilead, to a life and time rich in the solace of forgiveness and grace, is as likely to reopen old wounds as it is to prove a source of healing. But this is what Robinson understands so well: the warmth of her prose becomes a form of communion with the characters she has created, an enactment of the mercy she would have them show one another. Hers is a vision more human, and more beautiful, for her willingness to take their sadnesses upon herself and to grieve with them. --Amelia Atlas

Amelia Atlas's reviews have appeared in the New York Sun, 02138, and the Harvard Book Review.

Product Details

  • ISBN-13: 9780143116110
  • Publisher: Penguin Group (USA) Incorporated
  • Publication date: 6/30/2009
  • Edition description: Reprint
  • Pages: 272
  • Sales rank: 692,129
  • Series: Lake Wobegon Series
  • Product dimensions: 5.10 (w) x 7.60 (h) x 0.60 (d)

Meet the Author

Garrison Keillor
Garrison Keillor

Garrison Keillor, author of nearly a dozen books, is founder and host of the acclaimed radio show A Prairie Home Companion and the daily program The Writer's Almanac. He is also a regular contributor to Time magazine.

Biography

Garrison Keillor is the author of thirteen books, including Lake Wobegon Summer 1956, Wobegon Boy, and Lake Wobegon Days. From 1999-2001, Keillor wrote a column "Dear Mr. Blue: Advice for Lovers and Writers" on Salon.com. Keillor's popular Saturday-night public radio show, A Prairie Home Companion, is in its twenty-seventh season. He lives in St. Paul with his wife and daughter.

Author biography courtesy of Penguin Group (USA).

    1. Also Known As:
      Gary Edward Keillor (real name)
      Garrison Keillor
    2. Hometown:
      St. Paul, Minnesota
    1. Date of Birth:
      August 7, 1942
    2. Place of Birth:
      Anoka, Minnesota
    1. Education:
      B.A., University of Minnesota, 1966

Customer Reviews

Average Rating 4
( 11 )

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Sort by: Showing 1 – 10 of 11 Customer Reviews
  • Posted November 5, 2008

    more from this reviewer

    I Also Recommend:

    The shallow pursuit of Ms. Liberty

    Garrison Keillor's Liberty follows Clint Bunsen's midlife crisis: at 60, he feels that his dull life in Lake Wobegon was a waste, has an affair with a woman half his age, and contemplates a) running away to California or b) running for Congress. As the chairman of the annual Fourth of July parade, he is obsessed with creating monumental parades that attract CNN coverage and celebrities, but the townsfolk resent his meddling and long to return to simpler festivities. Complicating the matter is the fact that Clint is having a fling with last year's Miss Liberty.

    Like Keillor's other Lake Wobegon novels, Liberty is populated by a quirky supporting cast of grumpy farmers, very gloomy people of Norwegian / German descent, and crazy locals known for their wild and unpredictable behavior, but these are so removed from the narration that they are eclipsed by Clint, who isn't a strong enough narrator to carry the novel. We hear briefly from Clint's long-suffering wife Irene, from a crazy gun-toting conspiracy theory bachelor, and from several politicians, but Clint is the main source of the observations regarding Lake Wobegon and its annual parade.

    The actual action is slight and occurs towards the end; the rest of the story is devoted to Clint's midlife crisis as he contemplates how his life could have turned out differently if he'd stayed in California after the Navy. Guilted into returning home, Clint has been the main mechanic at Bunsen Motors for many years, and now his brother is retiring and wants him to buy the business. Clint has always resented being a mechanic, and wants to escape. His children are grown up and living on their own, and he's never had a deep relationship with his wife of over three decades. Clint receives DNA results that he isn't in fact 100% Norwegian. As part of this crisis, Clint reimagines himself as a passionate Latin lover through poetry, so his poems and narrations are increasingly sprinkled with basic Spanish. His newfound heritage increases his sense of isolation and resentment at Lake Wobegon, more so as he has been made to resign by the committee. Along the way, Keillor makes several pointed political statements, including an incident that's an obvious nod to Larry Craig's arrest in an airport bathroom for solicitation.

    Liberty was simply a so-so read due to the lack of secondary characters and the fact that a large portion of the novel is narration via Clint's thoughts instead of action. His midlife crisis was handled tenderly, but Clint's personality made it hard to root for him. This wasn't one of my favorite Keillor Lake Wobegon novels, but it's a nice read on a rainy day.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted June 3, 2009

    Liberty Far From Keillor's Best

    Garrison Keillor is a master orator and storyteller on his radio program, 'A Prairie Home Companion.' But as an author, Keillor is nowehere near as impressive. That is at least with his most recent book. 'Liberty' is a Lake Wobegon novel, yes. But sadly, it plays out more like some trashy romance novel, what with Clint Bunsen's affair with the much younger Angelica, and the resultant effect on his wife, Irene.

    Another negative to this book comes in the form of something that Keillor commonly does on PHC. He has a tendency to use lists, of sorts, in his description of scenery. He does the same thing in his writing. He will list nearly every aspect of scenery from one scene to the next. He even does that listing in other fashions throughout the story. This listing can get so bad at points that it can lead readers to have to go back in order to know what exactly is going on. Sadly, Keillor is not the only author to do this kind of writing. There are many authors who do much the same thing.

    The listing is not theonly downside to this book. There is some rather coarse language used throughout the book as well. In comparison to the more family friendly language used in PHC, the language used in thsi book is far from being family friendly.

    For the negatives of 'Liberty' there were some positives. Those positives came in the form of familiar Wobegon characters that fans of PHC have come to know from Keillor's radio show over the years. His well known brand of comedy is also present throughout the story. While the humor does not make up for the romance novel style story of 'Liberty' is does make the story more bearable from start to finish.

    One more positive to 'Liberty' is the very title. Considering Clint Bunsen's story, it is fitting that the story's title is 'Liberty.' Clint never really had that liberty, or independence. So the title likely intentionally has a dual meaning to it, thus giving the story more meaning.

    All of this being noted, 'Liberty' is far from Keillor's best written work, considering it plays out like some trashy romance novel. But he saves the story with the use of familiar characters, wodnerfully comic moments, and the thoughtful title/story combination. Hopefully when he writes his next book, Keillor will take this into consdieration, and try to avoid the cliched story style, and write a book that is not only closer to PHC, but also far more family friendly.

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  • Posted April 22, 2009

    Liberty/ New death of a salesman

    Old Garrison has a style almost all of his own. (I actually know someone quite like him) Garrison, known in Prairie Home Companion, both the radio show and the Movie, plus the books Lake Wobegon, and Home Grown Democrat, spins a story, while enchanting, but also pointedly shown the foibles of mankind. Liberty, while always giving us the comical idiosyncrsies of man, shows us the body blows of having to do what we must and never getting to live out our dreams. While willie Loman worked as a salesman, and should have be a carperter. The lead of Liberty worked as a mechanic and put together the 4th of July Parade, only to get little recognition, while he wished he were in another place working on his art. Does our lead excape or does he end up dying in his, less then happy live. That would spoil the story. Buy it and read it.

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  • Posted April 9, 2009

    more from this reviewer

    This is Small Town America

    I think that this is arguably Keillor's best novel and best portrayal of Lake Woebegone. Many will think that this book is a caricature of small towns but from having lived in small midwestern towns (as their local Chamber of Commerce executive) for 13 years, I can truthfully say that I saw a lot of the character of the small midwestern towns I lived in artfully portrayed in this book. The people are a bit exageratted but no where near as much as some might think. This tale also encompasses small town politics (from local government to committees) in the way that they do indeed work. More particularly is the love contained in any community where the winters are long, the spring and summer cherished and where, even in the wide open prairie, you can feel too hemmed in by the same old faces each and every day for decades on end.
    One could almost call this a coming of age novel even though the main character is 60. I loved the characters, the unintended zaniness of the Lake Woebegone Fourth of July and the conflict inherent in the lives of almost all of us as we approach old age and wonder what mark we have made on our world.
    This book is also proof positive of the old saying "it's better to be a big fish in a little pond". For the only thing that can change is the size of the pond. The size of the fish remains the same. Clint finds that in spite of everything tumbling around him he really is quite content with the pond that is Lake Woebegone.

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  • Posted November 17, 2008

    Depressed

    Finishing ¿Liberty¿ has left me depressed. I connected with the main character Clint Bunsen right from the beginning of the story and felt his heartbreak of disillusionment on every page. I found myself questioning whether I had made wrong decisions in my life, looking at my husband sideways; does he feel the same disappointments?

    Keillor makes me laugh and cry. Reading about the pettiness of complaints most of the inhabitants in Lake Wobegon are concerned with seems ridiculous. The pageantry of the parade and the events on the 4th of July are monumental to these small town folks; hardly worth the effort to suburbanites like me. Still, I found the many prat falls the characters endured interesting.

    I could not accept the ending; the idea harmonious activity - sitting around the Bunsen's house as though nothing had happened between the two main characters was hard to swallow. My goodness, folks came over and Irene popped popcorn for everyone! It would take me at least a couple of days of crying and brooding to get back to some kind of normalcy.

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  • Anonymous

    Posted September 21, 2008

    I Want to Move To Lake Wobegon

    There's just something about Keillor. You may not agree with his politics, you may agree with them. What we can all agree upon, however, is that he is a spectacular author. Each trip to Lake Wobegon is an outstanding vacation from the real world. I'm moving.

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  • Anonymous

    Posted March 31, 2012

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    Posted April 20, 2009

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  • Anonymous

    Posted September 3, 2010

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  • Anonymous

    Posted May 15, 2010

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