The Corrections

by Jonathan Franzen

Overview

Winner of the 2001 National Book Award for Fiction

After almost fifty years as a wife and mother, Enid Lambert is ready to have some fun. Unfortunately, her husband, Alfred, is losing his sanity to Parkinson's disease, and their children have long since flown the family nest to the catastrophes of their own lives. The oldest, Gary, a once-stable portfolio manager and family man, is trying to convince his wife and himself, despite clear signs to the contrary, that he is not clinically depressed. The middle child, Chip, has lost his seemingly secure academic job and is failing spectacularly at his new line of work. And Denise, the youngest, has escaped a disastrous marriage only to pour her youth and beauty down the drain of an affair with a married man-or so her mother fears. Desperate for some pleasure to look forward to, Enid has set her heart on an elusive goal: bringing her family together for one last Christmas at home.

Product Details

ISBN-13:	9780312421274
Publisher:	Picador
Publication date:	09/01/2002
Series:	Oprah's Book Club Series
Pages:	576
Sales rank:	77,249
Product dimensions:	5.40(w) x 8.20(h) x 1.20(d)

About the Author

Jonathan Franzen is the author of The Twenty-Seventh City, Strong Motion, and the essay collection How to Be Alone. He has been named one of the Granta 20 Best Novelists under 40 and is a frequent contributor to The New Yorker and Harper's. He lives in New York City.

Hometown:

New York, New York

Date of Birth:

1959

Place of Birth:

Western Springs, Illinois

Education:

B.A., Swarthmore College, 1981; studied as a Fulbright scholar at Freie Universität in Berlin

Website:

http://www.jonathanfranzen.com

Read an Excerpt

The Madness of an autumn prairie cold front coming through. You could feel it: something terrible was going to happen. The sun low in the sky, a minor light, a cooling star. Gust after gust of disorder. Trees restless, temperatures falling, the whole northern religion of things coming to an end. No children in the yards here. Shadows lengthened on yellowing zoysia. Red oaks and pin oaks and swamp white oaks rained acorns on houses with no mortgage. Storm windows shuddered in the empty bedrooms. And the drone and hiccup of a clothes dryer, the nasal contention of a leaf blower, the ripening of local apples in a paper bag, the smell of the gasoline with which Alfred Lambert had cleaned the paintbrush from his morning painting of the wicker love seat.

Three in the afternoon was a time of danger in these gerontocratic suburbs of St. Jude. Alfred had awakened in the great blue chair in which he'd been sleeping since lunch. He'd had his nap and there would be no local news until five o'clock. Two empty hours were a sinus in which infections, bred. He struggled to his feet and stood by the Ping-Pong table, listening in vain for Enid.

Ringing throughout the house was an alarm bell that no one but Alfred and Enid could hear directly. It was the alarm bell of anxiety. It was like one of those big cast-iron dishes with an electric clapper that send schoolchildren into the street in fire drills. By now it had been ringing for so many hours that the Lamberts no longer heard the message of "bell ringing" but, as with any sound that continues for so long that you have the leisure to learn its component sounds (as with any word you stare at until it resolves itself into a string of dead letters), instead heard a clapper rapidly striking a metallic resonator, not a pure tone but a granular sequence of percussions with a keening overlay of overtones; ringing for so many days that it simply blended into the background except at certain early-morning hours when one or the other of them awoke in a sweat and realized that a bell had been ringing in their heads for so long as they could remember; ringing for so many months that the sound had given way to a kind of metasound whose rise and fall was not the beating of compression waves but the much, much slower waxing and waning of their consciousness of the sound. Which consciousness was particularly acute when the weather itself was in an anxious mood. Then Enid and Alfred -- she on her knees in the dining room opening drawers, he in the basement surveying the disastrous Ping-Pong table -- each felt near to exploding with anxiety.

The anxiety of coupons, in a drawer containing candles in designer autumn colors. The coupons were bundled in a rubber band, and Enid was realizing that their expiration dates (often jauntily circled in red by the manufacturer) lay months and even years in the past: that these hundred-odd coupons, whose total face value exceeded sixty dollars (potentially one hundred twenty dollars at the Chiltsville supermarket that doubled coupons), had all gone bad. Tilex, sixty cents off. Excedrin PM, a dollar off. The dates were not even close. The dates were historical. The alarm bell had been ringing for years.

She pushed the coupons back in among the candles and shut the drawer. She was looking for a letter that had come by Registered mail some days ago. Alfred had heard the mailman knock on the door and had shouted, "Enid! Enid!" so loudly that he couldn't hear her shouting back, "Al, I'm getting it!" He'd continued to shout her name, coming closer and closer, and because the sender of the letter was the Axon Corporation, 24 East Industrial Serpentine, Schwenksville, PA, and because there were aspects of the Axon situation that Enid knew about and hoped that Alfred didn't, she'd quickly stashed the letter somewhere within fifteen feet of the front door. Alfred had emerged from the basement bellowing like a piece of earth-moving equipment, "There's somebody at the door!" and she'd fairly screamed, "The mailman! The mailman!" and he'd shaken his head at the complexity of it all.

Enid felt sure that her own head would clear if only she didn't have to wonder, every five minutes, what Alfred was up to. But, try as she might, she couldn't get him interested in life. When she encouraged him to take up his metallurgy again, he looked at her as if she'd lost her mind. When she asked whether there wasn't some yard work he could do, he said his legs hurt. When she reminded him that the husbands of her friends all had hobbies (Dave Schumpert his stained glass, Kirby Root his intricate chalets for nesting purple finches, Chuck Meisner his hourly monitoring of his investment portfolio), Alfred acted as if she were trying to distract him from some great labor of his. And what was that labor? Repainting the porch furniture? He'd been repainting the love seat since Labor Day. She seemed to recall that the last time he'd painted the furniture he'd done the love seat in two hours. Now he went to his workshop morning after morning, and after a month she ventured in to see how he was doing and found that all he'd painted of the love seat was the legs.

He seemed to wish that she would go away. He said that the brush had got dried out, that that was what was taking so long. He said that scraping wicker was like trying to peel a blueberry. He said that there were crickets. She felt a shortness of breath then, but perhaps it was only the smell of gasoline and of the dampness of the workshop that smelled like urine (but could not possibly be urine). She fled upstairs to look for the letter from Axon.

Six days a week several pounds of mail came through the slot in the front door, and since nothing incidental was allowed to pile up downstairs -- since the fiction of living in this house was that no one lived here -- Enid faced a substantial tactical challenge. She didn't think of herself as a guerrilla, but a guerrilla was what she was. By day she ferried matériel from depot to depot, often just a step ahead of the governing force. By night, beneath a charming but too-dim sconce at a too-small table in the breakfast nook, she staged various actions: paid bills, balanced checkbooks, attempted to decipher Medicare copayment records and make sense of a threatening Third Notice from a medical lab that demanded immediate payment of $0.22 while simultaneously showing an account balance of $0.00 carried forward and thus indicating that she owed nothing and in any case offering no address to which remittance might be made. It would happen that the First and Second Notices were underground somewhere, and because of the constraints under which Enid waged her campaign she had only the dimmest sense of where those other Notices might be on any given evening. She might suspect, perhaps, the family-room closet, but the governing force, in the person of Alfred, would be watching a network newsmagazine at a volume thunderous enough to keep him awake, and he had every light in the family room burning, and there was a non-negligible possibility that if she opened the closet door a cascade of catalogues and House Beautifuls and miscellaneous Merrill Lynch statements would come toppling and sliding out, incurring Alfred's wrath. There was also the possibility that the Notices would not be there, since the governing force staged random raids on her depots, threatening to "pitch" the whole lot of it if she didn't take care of it, but she was too busy dodging these raids to ever quite take care of it, and in the succession of forced migrations and deportations any lingering semblance of order was lost, and so the random Nordstrom shopping bag that was camped behind a dust ruffle with one of its plastic handles semi-detached would contain the whole shuffled pathos of a refugee existence -- non-consecutive issues of Good Housekeeping, black-and-white snapshots of Enid in the 1940s, brown recipes on high-acid paper that called for wilted lettuce, the current month's telephone and gas bills, the detailed First Notice from the medical lab instructing co-payers to ignore subsequent billings for less than fifty cents, a complimentary cruise ship photo of Enid and Alfred wearing leis and sipping beverages from hollow coconuts, and the only extant copies of two of their children's birth certificates, for example.

Although Enid's ostensible foe was Alfred, what made her a guerrilla was the house that occupied them both. Its furnishings were of the kind that brooked no clutter. There were chairs and tables by Ethan Allen. Spode and Waterford in the breakfront. Obligatory ficuses, obligatory Norfolk pines. Fanned copies of Architectural Digest on a glass-topped coffee table. Touristic plunder -- enamelware from China, a Viennese music box that Enid out of a sense of duty and mercy every so often wound up and raised the lid of. The tune was "Strangers in the Night."

Unfortunately, Enid lacked the temperament to manage such a house, and Alfred lacked the neurological wherewithal. Alfred's cries of rage on discovering evidence of guerrilla actions -- a Nordstrom bag surprised in broad daylight on the basement stairs, nearly precipitating a tumble -- were the cries of a government that could no longer govern. He'd lately developed a knack for making his printing calculator spit columns of meaningless eight-digit figures. After he devoted the better part of an afternoon to figuring the cleaning woman's social security payments five different times and came up with four different numbers and finally just accepted the one number ($635.78) that he'd managed to come up with twice (the correct figure was $70.00), Enid staged a nighttime raid on his filing cabinet and relieved it of all tax files, which might have improved household efficiency had the files not found their way into a Nordstrom bag with some misleadingly ancient Good Housekeepings concealing the more germane documents underneath, which casualty of war led to the cleaning woman's filling out the forms herself, with Enid merely writing the checks and Alfred shaking his head at the complexity of it all.

It's the fate of most Ping-Pong tables in home basements eventually to serve the ends of other, more desperate games. After Alfred retired he appropriated the eastern end of the table for his banking and correspondence. At the western end was the portable color TV on which he'd intended to watch the local news while sitting in his great blue chair but which was now fully engulfed by Good Housekeepings and the seasonal candy tins and baroque but cheaply made candle holders that Enid never quite found time to transport to the Nearly New consignment shop. The Ping-Pong table was the one field on which the civil war raged openly. At the eastern end Alfred's calculator was ambushed by floral print pot-holders and souvenir coasters from the Epcot Center and a device for pitting cherries which Enid had owned for thirty years and never used, while he, in turn, at the western end, for absolutely no reason that Enid could ever fathom, ripped to pieces a wreath made of pinecones and spray-painted filberts and brazil nuts.

Copyright © 2001 Jonathan Franzen

Table of Contents

Contents

ST. JUDE,
THE FAILURE,
THE MORE HE THOUGHT ABOUT IT, THE ANGRIERHE GOT,
AT SEA,
THE GENERATOR,
ONE LAST CHRISTMAS,
THE CORRECTIONS,

Reading Group Guide

The questions and discussion topics that follow are intended to enhance your group's reading of Jonathan Franzen's The Corrections, an unflinchingly honest yet ultimately redemptive chronicle of an American family. We hope they will help you approach the complex story of the Lamberts, which takes a hard look at the role of family in contemporary society and questions the effects of materialism in late-twentieth century America.

1. Consider the atmosphere of suburban St. Jude (named for the patron saint of hopeless causes) in comparison to the more sophisticated surroundings of Philadelphia and New York. Why has the Lamberts' neighborhood evolved into a gerontocratic refuge? "What Gary hated most about the Midwest was how unpampered and unprivileged he felt in it" (p. 178). What negative and positive qualities are attributed to the Midwest? How are the characters shaped by the cities or towns they live in?

2. What is the significance of "one last Christmas"? Is Enid's obsession with the holidays predictable for a mother of her generation or is it, as Gary fears, "a symptom of a larger malaise" (p. 148)?

3. Why does it take so long for the Lamberts to acknowledge the seriousness of Alfred's illness? Is Al's deteriorating mental health solely a result of Parkinson's disease? How are his physical deterioration and mental decline linked? "Irresponsibility and undiscipline were the bane of his existence, and it was another instance of that Devil's logic that his own untimely affliction should consist of his body's refusal to obey him" (p. 67). Why are these ailments especially humiliating for Alfred?

4. Novels written in the nineteenth century often have plots with many characters and story lines. Novels from the 1980s and 1990s often have spare plots with minimalist characters. What is the book's relation to these two models? Which elements of the book's style seem especially modern and which more traditional?

5. What role does corporate America play in this story? Consider the Midland Pacific takeover, Al's connections with the Axon Corporation, and Brian's dealings with the W—— Corporation. What are the lessons of Chip's Consuming Narratives class? Are they accurate and relevant? How should we view Melissa's critique of them (pp. 42–44)?

6. What is the source of Gary and Caroline's marital problems? Whose version of the truth do you believe? Why does Gary feel so alienated from Caleb and Aaron? What draws him to Jonah? Compare this family with the glimpses we have of the young Lamberts. In what ways is Gary different, as a father, from Alfred?

7. What is your impression of Enid and Alfred's marriage? Which version of their marriage do you believe—Enid's image of Al as a pessimistic brooder or Al's image of Enid as an unrealistic optimist? In what ways do Enid's capacity for hope and Alfred's low expectations manifest themselves? How do their temperamental differences play out in the course of the narrative?

8. "The family was the house's soul" (p. 269). Analyze the symbolism of the Lambert home in St. Jude. How does its meaning change over the years? Consider Enid's stockpiles of expired coupons and Al's catalog of compulsive repairs. Compare this home with the other domestic spaces in the book. How have the Lambert children reacted to the clutter and careful economy of the house they grew up in?

9. How would you define the members of the Lambert family based on their traits? Which are shared traits and which are specific to an individual? How would these characters describe themselves? If "who a person was was what a person wanted" (p. 539), who are the Lamberts?

10. Discuss the alliances that formed in the Lambert family after the children left home. What occurrences might account for Denise's loyalty to Al and for Chip and Gary's sympathy for Enid? How do these alliances shift during the course of the novel?

11. Why does Denise choose to lose her virginity to Don Armour? Which qualities of her co- worker simultaneously attract and repel her? Why does Al sacrifice his job for Denise's privacy?

12. What is the significance of the title The Corrections? How does the idea of "corrections" play out during the course of the story? What does "What made correction possible also doomed it" (p. 281) mean?

13. Why is Denise drawn to both Robin and Brian? How attractive are they as characters? How does Denise's attraction to Robin initially manifest itself? Why is she unable to make a life with Robin?

14. What is revealed about the dynamics of the young Lambert family during the liver dinner? When Al finds Chip asleep at the dinner table, what upsets him more: concern for his son or disgust with Enid? Do we know the source of Enid's neglect? "There was something almost tasty and almost sexy in letting the annoying boy be punished by her husband" (p. 263). To what extent are the book's children shaped by their upbringing, and to what extent is their character predetermined?

15. How do technology and consumerism infiltrate the lives of the characters? Are cell phones and the spy gadgets that Caleb craves symptoms of a problem in our society? How does consumerism relate to the problem of what Gary calls anhedonia—"a psychological condition characterized by inability to experience pleasure in normally pleasurable acts" (p. 165)?

16. What do Chip's relationships with women reveal about his character? How does his attitude toward women change over the course of the novel? Considering the details of his earlier relationships, does it seem probable that his marriage to Alison Schulman will survive? How did his time in Lithuania prepare Chip to deal with Alfred's decline and death?

17. Why does Denise tell Chip not to pay back the money she has lent him? What does the use of the word "forgive" suggest in Denise's plea to her brother?

18. How would you describe Franzen's narrative style? How deeply does he sympathize with his characters? Does the tone of the novel change? Examine the evolution of Enid's character, from housewife to the liberated woman at the end of the novel who feels that "nothing could kill her hope now" (p. 568). Is there evidence that her liberation is not entirely a good thing?

19. How does the issue of class play out during the course of the novel? In what different ways does class drive Enid's behavior on the cruise and propel Denise's decision to sleep with Don Armour? How does concern over class status affect Gary and Caroline or Brian and Robin?

20. Is Alfred's death the key to Enid's happiness? How does the quality of her life change once Al is hospitalized? What reaction do his children have to his death? Are we meant to believe that their father's death is the catalyst for their "corrections"? For how much of the unhappiness in the Lambert household was Al responsible?

21. Are elements of the Lambert family universal characteristics of the American family? How do the world in general and family life in particular change during the half century that the novel spans? In what ways is life better now than when the Lambert children were young? In what ways is it worse?

22. Which character has undergone the most fundamental change? Is the change positive or negative? Have any of the characters evolved enough for their "corrections" to endure? Are these corrections deliberate, or are they the result of outside occurrences that force the characters to change?

23. Discuss the different moral codes members of the Lambert family adhere to. Consider Enid's fear of her children's "immorality," Gary's obsession with Caroline's dishonesty, Alfred's refusal to engage in insider trading, Denise's rage at Gary for having betrayed the sibling code of honor, and Chip's animus against the W—— Corporation and big business in general. Which of these judgments seem most valid? Does the book favor one moral view over another?

24. How does America's long-standing fascination with the notion of progress manifest itself in the story of each character? How does the novel, in its entirety, stand in relation to the American ideas of self-improvement as well as social and technological progress?

Editorial Reviews

You will laugh, wince, groan, weep, leave the table and maybe the country, promise never to go home again, and be reminded of why you read serious fiction in the first place.” —The New York Review of Books

“Marvelous . . . Everything we want in a novel—except, when it's rocking along, for it never to be over.” —The New York Times Book Review

“Jonathan Franzen has built a powerful novel out of the swarming consciousness of a marriage, a family, a whole culture—our culture.” —Don DeLillo

“Looms as a model for what ambitious storytelling can still say about modern life . . . Franzen swings for the fences and clears them with yards to spare.” —San Francisco Chronicle

“The novel we've been waiting for...a stunning anatomy of family dysfunction...a contemporary novel that will endure.” —Esquire

“In its complexity, its scrutinizing and utterly unsentimental humanity, and its grasp of the subtle relationships between domestic drama and global events....It is a major accomplishment.” —Michael Cunningham

“Frighteningly, luminously authentic.” —The Boston Globe

“A genuine masterpiece . . . This novel is a wisecracking, eloquent, heartbreaking beauty.” —Elle

“The brightest, boldest, and most ambitious novel I've read in many years.” —Pat Conroy

“Brilliant . . . Almost unbearably lifelike.” —The New York Observer

“Funny and deeply sad, large-hearted and merciless, The Corrections is a testament to the range and depth of pleasures great fiction affords.” —David Foster Wallace

“This is a spellbinding novel . . . that is both funny and piercing.” —People

From the Publisher

The Barnes & Noble Review
Novels dealing with domestic crises and familial dysfunction are part of a long and honorable tradition. (As Tolstoy said in 1877, "All happy families are alike. Every unhappy family is unhappy in its own way.") Jonathan Franzen, gifted author of The Twenty-Seventh City and Strong Motion, now claims a place in that tradition with The Corrections, his funny, desolating, unsparing account of a divided, deeply unhappy American family.

At times evocative of two classic portraits of domestic and spiritual malaise, Richard Yates's Revolutionary Road and Joseph Heller's Something Happened, The Corrections ultimately stands squarely on its own. The narrative focuses on three critical months in the history of the Lambert family, longtime residents of the fictional midwestern city of St. Jude. Albert, the patriarch, is a once-formidable figure whose frequent rages and implacable rectitude have dominated life in the Lambert household for nearly 50 years. As the novel begins, Albert had just been diagnosed with Parkinson's disease. Against the perfectly articulated background of his physical and mental deterioration, Enid -- Albert's long-suffering, perpetually dissatisfied wife -- develops a single, overriding obsession: to see her scattered family return to St. Jude for one last Christmas together.

The bulk of the story depicts the disordered lives of the three departed Lambert children: Gary, a grasping, increasingly unhappy investment banker with family troubles of his own; Chip, a former professor and failed screenwriter who drifts into a dangerous, highly illegal investment scam in economically depressed Lithuania; and Denise, a gifted chef lost in a maze of sexual confusion and "moral chaos." In time, and by various circuitous routes, all three will find their way to that climactic Christmas in St. Jude, and to a final confrontation with the ghosts of the past, a confrontation that is painful, tragic, and liberating, all at once.

Supremely intelligent and deeply affecting, The Corrections anatomizes both a family and a society, gracefully illuminating the inner lives of a handful of characters struggling to escape "the givens of the self," and to find and apply "the corrections" that will transform and redeem their lives. Through a combination of wit, empathy, and precise observation, Franzen himself transforms the familiar materials of domestic drama into something luminous and new, giving us a powerful, often beautiful novel of clear -- and possibly enduring -- significance. (Bill Sheehan)

bn.com

If some authors are masters of suspense, others postmodern verbal acrobats, and still others complex-character pointillists, few excel in all three arenas. In his long-awaited third novel, Franzen does. Unlike his previous works, The 27th City (1988) and Strong Motion (1992), which tackled St. Louis and Boston, respectively, this one skips from city to city (New York; St. Jude; Philadelphia; Vilnius, Lithuania) as it follows the delamination of the Lambert family Alfred, once a rigid disciplinarian, flounders against Parkinson's-induced dementia; Enid, his loyal and embittered wife, lusts for the perfect Midwestern Christmas; Denise, their daughter, launches the hippest restaurant in Philly; and Gary, their oldest son, grapples with depression, while Chip, his brother, attempts to shore his eroding self-confidence by joining forces with a self-mocking, Eastern-Bloc politician. As in his other novels, Franzen blends these personal dramas with expert technical cartwheels and savage commentary on larger social issues, such as the imbecility of laissez-faire parenting and the farcical nature of U.S.-Third World relations. The result is a book made of equal parts fury and humor, one that takes a dry-eyed look at our culture, at our pains and insecurities, while offering hope that, occasionally at least, we can reach some kind of understanding. This is, simply, a masterpiece. Agent, Susan Golomb. (Sept.) Forecast: Franzen has always been a writer's writer and his previous novels have earned critical admiration, but his sales haven't yet reached the level of, say, Don DeLillo at his hottest. Still, if the ancillary rights sales and the buzz at BEA are any indication, The Corrections should behis breakout book. Its varied subject matter will endear it to a genre-crossing section of fans (both David Foster Wallace and Michael Cunningham contributed rave blurbs) and FSG's publicity campaign will guarantee plenty of press. QPB main, BOMC alternate. Foreign rights sold in the U.K., Denmark, Holland, Italy, Norway, Portugal, Sweden and Spain. Nine-city author tour. Copyright 1999 Cahners Business Information.

Publishers Weekly

Here's a family that will never be mistaken for the Royal Tennenbaums. Meet the Lamberts: Dad is a retired railroad man who is slipping into dementia; Mom is still trying to believe in the rosiest possible marriage and family life; and their grown children are each living out a catastrophe. The youngest son is failing miserably as a sort of screenwriter in Lithuania, the daughter is a chef of some accomplishment who can't seem to keep out of bed with just about anyone, and the oldest son is yelling at and withholding affection from his family just as his father did before him. The family home is in St. Jude (aptly named for the patron saint of hopeless causes). Enid, the wife and mother, wants the whole family together for one last Christmas before her husband, Alfred, slips beyond reach. Getting them all under the same roof even for a few hours is a massive undertaking. Franzen is a keen observer of the way the world works, and it is a tribute to his skill as a novelist that the listener remains interested in the craziness of these lives. Reader Dylan Baker brings these quirky characters to life. Recommended for fiction collections in public libraries. - Barbara Valle, El Paso P.L., TX Copyright 2002 Cahners Business Information.

Library Journal

The recent brouhaha about the death of realistic fiction may well be put to rest by Franzen's stunning third novel: a symphonic exploration of family dynamics and social conflict and change that leaps light-years beyond its critically praised predecessors The Twenty-Seventh City (1998) and Strong Motion (1992). The story's set in the Midwest, New York City, and Philadelphia, and focused on the tortured interrelationships of the five adult Lamberts. Patriarch Alfred, a retired railroad engineer, drifts in and out of hallucinatory lapses inflicted by Parkinson's, while stubbornly clinging to passe conservative ideals. His wife Enid, a compulsive peacemaker with just a hint of Edith Bunker in her frazzled "niceness," nervously subverts Alfred's stoicism, while lobbying for "one last Christmas" gathering of her scattered family at their home in the placid haven of St. Jude. Eldest son Gary, a Philadelphia banker, is an unhappily married "materialist"; sister Denise is a rapidly aging thirtysomething chef rebounding from a bad marriage and unresolvable relationships with male and female lovers; and younger son Chip-the most abrasively vivid figure here-is an unemployable former teacher and failed writer whose misadventures in Lithuania, where he's been impulsively hired "to produce a profit-making website" for a financially moribund nation, slyly counterpoint the spectacle back home of an American family, and culture, falling steadily apart. Franzen analyzes these five characters in astonishingly convincing depth, juxtaposing their personal crises and failures against the siren songs of such "corrections" as the useless therapy treatment (based on his own patented invention) that Alfredundergoes, the "uppers" Enid gets from a heartless Doctor Feelgood during a (wonderfully depicted) vacation cruise, and the various panaceas and hustles doled out by the consumer culture Alfred rails against ("Oh, the myths, the childish optimism of the fix"), but is increasingly powerless to oppose. A wide-angled view of contemporary America and its discontents that deserves comparison with Dos Passos's U.S.A., if not with Tolstoy. One of the most impressive American novels of recent years.

Kirkus Reviews

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