The Mayor's Tongue

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One of the most original, dazzling, and critically acclaimed debut novels this year.

In this debut novel, hailed by Stephen King as 'terrifying, touching, and wildly funny,' the stories of two strangers, Eugene Brentani and Mr. Schmitz, interweave. What unfolds is a bold reinvention of storytelling in which Eugene, a devotee of the reclusive and monstrous author, Constance Eakins, and Mr. Schmitz, who has been receiving ominous letters from an old friend, embark from New York ...

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The Mayor's Tongue

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One of the most original, dazzling, and critically acclaimed debut novels this year.

In this debut novel, hailed by Stephen King as 'terrifying, touching, and wildly funny,' the stories of two strangers, Eugene Brentani and Mr. Schmitz, interweave. What unfolds is a bold reinvention of storytelling in which Eugene, a devotee of the reclusive and monstrous author, Constance Eakins, and Mr. Schmitz, who has been receiving ominous letters from an old friend, embark from New York for Italy, where the line between imagination and reality begins to blur and stories take on a life of their own.

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Editorial Reviews

Stephen King
I read The Mayor's Tongue with ever-increasing delight, rooting with all my heart for the young protagonist on his near-mythic quest. This is an elegantly-structured, brilliantly-told novel, by turns terrifying, touching, and wildly funny, and always generous and magical. The Mayor's Tongue is about how we talk to each other and how make-believe helps us get on with our lives; most of all, it's about love. Kudos to Nathaniel Rich, who has created a brave book, a novel brimming with brio.
Gary Shteyngart
Ambitious, intelligent, hallucinatory, and, most important: heartfelt. Here is a young writer who is not afraid to give literature a kick in the pants, a writer deep in the thrall of language.
Colum McCann
The Mayor's Tongue reminds me of Peter Carey's early work-the highest possible praise. It presents a young writer of deep ambition and imagination working with a kind of unnerving maturity. It's clear from the very first pages that Nathaniel Rich can really write, and he proceeds to unfurl a fascinating mšbius strip of a novel, its dual narratives swerving and twisting until they've come together in a way that seems all at once impossible and endlessly elegant. (Colum McCann, author of Zoli and This Side of Brightness)
Carolyn See
The Mayor's Tongue is a goofy, playful, highly intellectual novel about serious subjects—the failure of language, for one, and how we cope with that failure in order to keep ourselves sane. It's speculative fiction as well, and owes considerable literary debts to Luigi Pirandello's Six Characters in Search of an Author, James Hilton's Lost Horizon and The Wonderful Wizard of Oz, in ways I can't mention without giving away the plot.
—The Washington Post
Sophie Gee
…the novel has a vague, dreamlike quality: meaningful but undetermined, intense but unfocused…when Rich writes of his characters, their affections, their impulses and failings, he writes generously and movingl…Surprising friendships, small intimacies of fidelity and kindness, large gestures of joy: The Mayor's Tongue does all these so well, pointing the way to Nathaniel Rich's promise as a fiction writer.
—The New York Times
Publishers Weekly

Two parallel missing person searches hurtle from New York to Italy in Paris Revieweditor Rich's surreal debut. Eugene Brentani, avoiding his lonely father and Sutton Place upbringing just after college, ends up in far Northern Manhattan working for Abraham Chisholm, the biographer of Connie Eakins-the author on whom Eugene wrote his college thesis. Abraham's lovely daughter, Sonia, goes missing in Italy while searching for the presumed-dead Eakins; Eugene, who met Sonia in New York and fell instantly in love with her, jumps at the opportunity to retrieve her. Once in Milan, Eugene finds danger lurking around every corner. Alternating chapters tell of elderly New York widower Mr. Schmitz (as he's called throughout), whose friend Rutherford has left for Italy, and whose letters from there are troubling. Mr. Schmitz sets off for Milan, partially to help Rutherford reclaim the Italy the two men knew as WWII soldiers. Rich seems as interested in exploring different forms of miscommunication as in developing character and plot, and the two central mysteries, both centering on books and story-telling, have a distinctly Borgesian flavor to them. Rich is an impressive stylist, but this debut's whole ends up less than the sum of its disparate parts, which a surprise ending fails to unify. (Apr.)

Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Kirkus Reviews
A loopy play on literary life from Paris Review editor Rich. Constance Eakins, "a colossus of the last American century," was, before his death at 82, ferociously at work on The Mayor's Tongue, the 26th tome in an august career highlighted by his major trilogy, The Slayed, The Slaying and The Slaughter, just released by Modern Library, with a foreword by the esteemed Director of the Eakins Center at Yale. This kind of bogus pomposity plainly delights the author. The book of the title-and the mayor-and the tongue-are largely mythic, part of the strange quest of white-haired, book-mad Chisholm, Eakins's fiercest fan. A recent emigre from the Dominican Republic, Alvaro, a former furniture mover, is commissioned to catalogue all of Chisholm's Eakinsiana, for him an oddly delicate pursuit. Alvaro's tale, including his attempt to have his own literary opus translated, despite his translator's total ignorance of Alvaro's Dominican dialect, alternates chapters with the tale of two congenial and truly odd oldsters, Mr. Schmitz and Rutherford. Schmitz's beloved wife Agnes is nearing death and, desperate for Rutherford's solace, Schmitz hunts him everywhere. But, after the pair's long conversations-highlights include the fact that "Ferrara" is the most difficult Italian city name to pronounce-Rutherford vanishes. The novel's narratives play off each other, offering literary allusions to H.L. Mencken, Simone de Beauvoir and Yasunari Kawabata. A debut novel that will appeal most to punch-drunk bibliophiles. Agent: Elyse Cheney/Elyse Cheney Agency
The Barnes & Noble Review
In Nathaniel Rich's debut novel, a young man, an old man, and a man who, bolstered by his art and virility, might possibly be immortal, each tell stories. Their verbal play, it seems, is the thing, as by the end of the novel Rich has constructed nothing less than a creation myth that attempts to explain why people, throughout history, have been so enamored with telling stories in the first place. For any novelist, this would be an audacious feat; for a 27-year-old (even one who is a senior editor at the Paris Review,) it could smack of hubris. The Mayor's Tongue is a bit of both: the showy pyrotechnics of a writer reaching far beyond his grasp -- and just about pulling it off.

The young man is Eugene Brentani, estranged from his father for reasons that remain unclear. After college, Eugene tells his father he has moved to Florida. Instead, he is working as a moving man up in Manhattan's predominantly Dominican neighborhood of Inwood -- separated from his childhood home on Manhattan's exclusive Sutton Place by a $2 subway fare and a vast chasm of privilege -- where he fancies himself "a refugee, or at least some sort of psychic immigrant."

The psychic immigrant Eugene takes up with an actual immigrant, Alvaro, who initiates him into exotic tastes for menudo (tripe soup) and erotic deception -- the two men share an apartment that Alvaro uses for extracurricular trysts with nurses and secretaries away from the prying eyes of his wife and children. They become such chums that Alvaro, who writes in his off hours from the moving company, asks Eugene to translate his work into English -- despite the fact that Alvaro speaks a Spanish dialect called Cibae?o that even other Spanish-speakers find incomprehensible. Much to his surprise, Eugene, who speaks English and Italian, finds that the story -- which he imagines to be about a young man named Jacinto, who leaves his home village to pursue his love, Alsa, in a far-away city -- is entirely clear. He marvels: "It was a rare and mysterious thing when people could understand each other with such perfect clarity."

Meanwhile, downtown, two old guys are sharing a park bench. Mr. Schmitz and Mr. Rutherford have every reason to understand each other with perfect clarity, having met in their youth as soldiers in Europe and continued a daily friendship right up into their old age. Mr. Schmitz has an ailing wife, Agnes, whom he loves dearly, though his affection for her is most palpable when, as they sleep together, he comforts her with his silence. Rutherford, however, is his daytime companion; the two men share friendship and stories over their daily walks and smokes (the latter a habit that Agnes doesn't even know he still maintains). Then Rutherford changes the deal: Having been fired from his 30-year gig as a food columnist and replaced by a young chef with her own television show, he announces he will return to Italy, the site of many youthful indiscretions for both men. Mr. Schmitz is devastated, but Rutherford, tellingly enough in a story about storytelling, promises to write: "All the new cities. Every city a story. Just think how much I'll have to tell you."

Italy, as it turns out, has a part to play in Eugene's story as well. Apparently, it is the last place where his favorite author, Constance Eakins, was spotted before he disappeared 30 years before. Despite the gender-ambiguity of his name, Eakins is a man of "Churchillian brio" and "Falstaffian appetites" -- with, we might add, not a small dose of Hemingway machismo and Salinger elusiveness. According to his obituary (printed on the 30th anniversary of his disappearance -- in the absence of a body he has been declared legally dead), Eakins "has stood accused, by critics and occasionally in a court of law, of excessive prodigality, brutalism, graft, whoremongering, lechery, thievery, murder, and even cannibalism (though these last two claims have been largely discredited)." He was also the subject of Eugene's college thesis.

Thanks to a moving job, Eugene is lured into a book-lined Manhattan library that happens to belong to Abe Chisholm, the foremost American Eakins scholar as well as a close personal friend to the author. Even more fortuitously, the scholar has a fetching gray-eyed, redheaded daughter whom he calls Alison. She, however, tells the smitten Eugene to call her Sonia. Later in the novel, she will go by Alice, Alicia, and Agata; a new name for each man who loves her, and the surest sign we are dealing with the classic Woman as Muse. Like Jacinto's Alsa, Alison-Sonia disappears to a foreign country and soon enough, Eugene follows her to Trieste. Italy, of course.

Under the Mediterranean sun, Rich's characters let loose with a regular Tower of Babel: Postcards fly back and forth; Eugene continues his "translations"; Eakins's stories are discussed and occasionally transcribed for the reader; lovers and children and parents search for one another in narratives that compete, and often overlap, with each other. Each layer builds on the others to bring us to the climax, in a tiny mountain town ruled by an ego-mad dictator where all the strands come together in a clever, neatly packaged conclusion.

This novel succeeds on its own terms as a meticulously structured piece of literary architecture, albeit one whose blueprints may be found in the work of Calvino, Auster, Borges, Fowles, and Pynchon. While meta-fiction may not have the same shock of originality it once had, it seems to be as worthy a model for a young writer as character-driven tales of boys who want nothing more than to climb a masthead, or girls who seem to wish they lived in a Jane Austen novel. Oddly enough, Rich seems most compelling when writing about his old men. Eugene's pursuit of a pretty girl may be quest-narrative 101, but his passages on Agnes and Mr. Schmitz are specific, touching, and wise. That access to emotional truth, coupled with Rich's obvious technical gifts as a writer, offers the reader a reward of its own -- and makes the prospect of a second novel one to be anticipated with pleasure. --Amy Benfer

Amy Benfer has worked as an editor and staff writer at Salon, Legal Affairs, and Paper magazine. Her reviews and features on books have appeared in Salon, The San Francisco Chronicle Book Review, The Believer, Kirkus, and The New York Times Book Review.

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Product Details

  • ISBN-13: 9781594483684
  • Publisher: Penguin Publishing Group
  • Publication date: 4/7/2009
  • Edition description: Reprint
  • Pages: 320
  • Sales rank: 1,485,860
  • Product dimensions: 5.10 (w) x 7.90 (h) x 1.00 (d)

Meet the Author

Nathaniel Rich has published essays and criticism in The New York Review of Books, Vanity Fair, The New York Times Book Review, The Los Angeles Times Book Review, The Nation, The New Republic, and Slate. He is an editor at The Paris Review.

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Sort by: Showing 1 Customer Reviews
  • Posted July 31, 2011

    Save your money....

    I struggled to get past 50 pages...this book is unbelievably tedious and boring and with no visible plot. But that's okay, because it's full of completely unlikable characters you don't want to read about anyway.

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