Winner of the National Book Critics Circle Award.
A compelling and complusively readable riff on the classic detective novel from America's most inventive novelist.
Brooklyn's very own self-appointed Human Freakshow, Lionel Essrog is an orphan whose Tourettic impulses drive him to bark, count, and rip apart our language in startling and original ways. Together with three veterans of the St. Vincent's Home for Boys, he works for small-time mobster Frank Minna's limo service cum detective agency. Life without Frank Minna, the charismatic King of Brooklyn, would be unimaginable, so who cares if the tasks he sets them are, well, not exactly legal. But when Frank is fatally stabbed, one of Lionel's colleagues lands in jail, the other two vie for his position, and the victim's widow skips town. Lionel's world is suddenly topsy-turvy, and this outcast who has trouble even conversing attempts to untangle the threads of the case while trying to keep the words straight in his head. Motherless Brooklyn is a brilliantly original, captivating homage to the classic detective novel by one of the most acclaimed writers of his generation.
A New York Times Notable Book.
About the Author
Jonathan Lethem is the author of six novels, including the best sellers The Fortress of Solitude, which was a New York Times Book Review Editors' Choice for one of the best books of 2003, and Mother Brooklyn, which won the National Book Critics Circle Award and was named novel of the year by Esquire, McSweeney's, Tin House, The New York TImes, the Paris Review, and a variety of other periodicals and anthologies. He lives in Brooklyn, New York, and in Maine.
Hometown:New York, New York
Place of Birth:New York, New York
Education:Left Bennington College after two years
Read an Excerpt
Context is everything. Dress me up and see. I'm a carnival barker, an auctioneer, a downtown performance artist, a speaker in tongues, a senator drunk on filibuster. I've got Tourette's. My mouth won't quit, though mostly I whisper or subvocalize like I'm reading aloud, my Adam's apple bobbing, jaw muscle beating like a miniature heart under my cheek, the noise suppressed, the words escaping silently, mere ghosts of themselves, husks empty of breath and tone. (If I were a Dick Tracy villain, I'd have to be Mumbles.) In this diminished form the words rush out of the cornucopia of my brain to course over the surface of the world, tickling reality like fingers on piano keys. Caressing, nudging. They're an invisible army on a peacekeeping mission, a peaceable horde. They mean no harm. They placate, interpret, massage. Everywhere they're smoothing down imperfections, putting hairs in place, putting ducks in a row, replacing divots. Counting and polishing the silver. Patting old ladies gently on the behind, eliciting a giggle. Onlyhere's the rubwhen they find too much perfection, when the surface is already buffed smooth, the ducks already orderly, the old ladies complacent, then my little army rebels, breaks into the stores. Reality needs a prick here and there, the carpet needs a flaw. My words begin plucking at threads nervously, seeking purchase, a weak point, a vulnerable ear. That's when it comes, the urge to shout in the church, the nursery, the crowded movie house. It's an itch at first. Inconsequential. But that itch is soon a torrent behind a straining dam. Noah's flood. That itch is my whole life. Here it comes now. Cover your ears. Build an ark.
"Eat me!" I scream.
* * *
"Maufishful," said Gilbert Coney in response to my outburst, not even turning his head. I could barely make out the words"My mouth is full"both truthful and a joke, lame. Accustomed to my verbal ticcing, he didn't usually bother to comment. Now he nudged the bag of White Castles in my direction on the car seat, crinkling the paper. "Stuffinyahole."
Coney didn't rate any special consideration from me. "Eatmeeatmeeatme," I shrieked again, letting off more of the pressure in my head. Then I was able to concentrate. I helped myself to one of the tiny burgers. Unwrapping it, I lifted the top of the bun to examine the grid of holes in the patty, the slime of glistening cubed onions. This was another compulsion. I always had to look inside a White Castle, to appreciate the contrast of machine-tooled burger and nubbin of fried goo. kaos and control. Then I did more or less as Gilbert had suggestedpushed it into my mouth whole. The ancient slogan Buy 'em by the sack humming deep in my head, jaw working to grind the slider into swallowable chunks, I turned back to stare out the window at the house.
Food really mellows me out.
We were putting a stakeout on 109 East Eighty-fourth Street, a lone town house pinned between giant doorman apartment buildings, in and out of the foyers of which bicycle deliverymen with bags of hot Chinese flitted like tired moths in the fading November light. It was dinner hour in Yorktown. Gilbert Coney and I had done our part to join the feast, detouring up into Spanish Harlem for the burgers. There's only one White Castle left in Manhattan, on East 103rd. It's not as good as some of the suburban outlets. You can't watch them prepare your order anymore, and to tell the truth I've begun to wonder if they're microwaving the buns instead of steaming them. Alas. Taking our boodle of thusly compromised sliders and fries back downtown, we double-parked in front of the target address until a spot opened up. It only took a couple of minutes, though by that time the doormen on either side had made usmade us as out-of-place and nosy anyway. We were driving the Lincoln, which didn't have the "T"-series license plates or stickers or anything else to identify it as a Car Service vehicle. And we were large men, me and Gilbert. They probably thought we were cops. It didn't matter. We chowed and watched.
Not that we knew what we were doing there. Minna had sent us without saying why, which was usual enough, even if the address wasn't. Minna Agency errands mostly stuck us in Brooklyn, rarely far from Court Street, in fact. Carroll Gardens and Cobble Hill together made a crisscrossed game board of Frank Minna's alliances and enmities, and me and Gil Coney and the other Agency Men were the markerslike Monopoly pieces, I sometimes thought, tin automobiles or terriers (not top hats, surely)to be moved around that game board. Here on the Upper East Side we were off our customary map, Automobile and Terrier in Candylandor maybe in the study with Colonel Mustard.
"What's that sign?" said Coney. He pointed with his glistening chin at the town house doorway. I looked.
" 'Yorkville Zendo,' " I read off the bronze plaque on the door, and my fevered brain processed the words and settled with interest on the odd one. "Eat me Zendo!" I muttered through clenched teeth.
Gilbert took it, rightly, as my way of puzzling over the unfamiliarity. "Yeah, what's that Zendo? What's that?"
"Maybe like Zen," I said.
"I don't know from that."
"Zen like Buddhism," I said. "Zen master, you know."
"You know, like kung-fu master."
"Hrrph," said Coney.
And so after this brief turn at investigation we settled back into our complacent chewing. Of course after any talk my brain was busy with at least some low-level version of echolalia salad: Don't know from Zendo, Ken-like Zung Fu, Feng Shui master, Fungo bastard, Zen masturbation, Eat me! But it didn't require voicing, not now, not with White Castles to unscrew, inspect and devour. I was on my third. I fit it into my mouth, then glanced up at the doorway of One-oh-nine, jerking my head as if the building had been sneaking up on me. Coney and the other Minna Agency operatives loved doing stakeouts with me, since my compulsiveness forced me to eyeball the site or mark in question every thirty seconds or so, thereby saving them the trouble of swiveling their necks. A similar logic explained my popularity at wiretap partiesgive me a key list of trigger words to listen for in a conversation and I'd think about nothing else, nearly jumping out of my clothes at hearing the slightest hint of one, while the same task invariably drew anyone else toward blissful sleep.
While I chewed on number three and monitored the uneventful Yorkville Zendo entrance my hands busily frisked the paper sack of Castles, counting to be sure I had three remaining. We'd purchased a bag of twelve, and not only did Coney know I had to have my six, he also knew he was pleasing me, tickling my Touretter's obsessive-compulsive instincts, by matching my number with his own. Gilbert Coney was a big lug with a heart of gold, I guess. Or maybe he was just trainable. My tics and obsessions kept the other Minna Men amused, but also wore them out, made them weirdly compliant and complicit.
A woman turned from the sidewalk onto the stoop of the town house and went up to the door. Short dark hair, squarish glasses, that was all I saw before her back was to us. She wore a pea coat. Sworls of black hair at her neck, under the boyish haircut. Twenty-five maybe, or maybe eighteen.
"She's going in," said Coney.
"Look, she's got a key," I said.
"What's Frank want us to do?"
"Just watch. Take a note. What time is it?"
Coney crumpled another Castle wrapper and pointed at the glove compartment. "You take a note. It's six forty-five."
I popped the compartmentthe click-release of the plastic latch was a delicious hollow sound, which I knew I'd want to repeat, at least approximatelyand found the small notebook inside. GIRL, I wrote, then crossed it out. WOMAN, HAIR, GLASSES, KEY. 6:45. The notes were to myself, since I only had to be able to report verbally to Minna. If that. For all we knew, he might want us out here to scare someone, or to wait for some delivery. I left the notebook beside the Castles on the seat between us and slapped the compartment door shut again, then delivered six redundant slaps to the same spot to ventilate my brain's pressure by reproducing the hollow thump I'd liked. Six was a lucky number tonight, six burgers, six forty-five. So six slaps.
* * *
For me, counting and touching things and repeating words are all the same activity. Tourette's is just one big lifetime of tag, really. The world (or my brainsame thing) appoints me it, again and again. So I tag back.
Can it do otherwise? If you've ever been it you know the answer.
Reading Group Guide
The questions, author biography, and suggested reading list that follow are intended to enhance your group's reading and discussion of Jonathan Lethem's Motherless Brooklyn, winner of the National Book Critics Circle Award.
1. For readers who come to Motherless Brooklyn with little knowledge of Brooklyn, what devices, beyond straightforward descriptions, does Lethem use to capture its distinctive atmosphere?
2. Lionel's wordplay includes variations on his own name—Liable Guesscog, Final Escrow, Ironic Pissclaim, for example. How does this particular quirk serve to establish Lionel's sense of himself and his place in the world? Is there an internal logic about the variations or are they simply haphazard?
3. The Minna Men are all orphans, first introduced as teenagers. Discuss how each of them carves out an identity for himself and why this is important to them. How do the initial descriptions Lionel provides of Tony [p. 39], Gil [p. 40], and Danny [p. 42-43] foreshadow the relationships among the four as adults? Do their characters change in the course of the novel?
4. Does Minna see himself as more than a boss to the young men? Does he make a conscious effort to turn the group into a family or does the family feeling develop from the needs of the young men themselves? What evidence, if any, is there that Minna's interest in them is emotional as well as practical? In what ways does Minna's relationship with his own mother and older brother influence the way he treats the Minna Men?
5. Why does Lionel say "it was Minna who brought me the language, Minna and Court Street that let me speak" [p.37]? What parts do Tony, Gil, and Danny play in helping Lionel accept his Tourette's Syndrome? How do their individual ways of dealing with Lionel differ? Which man's support is the most significant to Lionel both as a teenager and as an adult?
6. In describing Gil's explanation of Minna's kidnapping and murder, Lionel says "English might have been his fourth or fifth language from the sound of it" [p. 94]. Why does Lethem include this observation and other examples of mangled language throughout the book? How do they put Lionel's own "language difficulties" in perspective?
7. In addition to Lionel's wonderful, often poetic riffs, what other specific language patterns does Lethem employ to bring the various characters to life? For example, how do Lionel's conversation with the homicide detective [pp. 109-111], his initial encounter with Kimmery [p. 135] and his interview with Matricardi and Rockaforte [pp. 176-177] create impressions of these particular people that are independent of Lionel's own perceptions?
8. What role does Julia play in the novel? In what ways is she the stereotypical "dame" of other hard-boiled detective novels and films and how is she different? Do you think Julia is right when she says "No woman would ever want you, Lionel. . . . That's not really true. They might want you. . . . But they'll never be fair to you" [p. 297]?
9. Is Kimmery also a stock figure in this tradition? How does Kimmery's reaction to Lionel's Tourettic behavior differ from the reactions of the other characters? Does the brief, romantic interlude between Lionel and Kimmery advance the plot and if so, in what ways? How does it affect your understanding of Lionel? Is Kimmery "fair" to Lionel?
10. The Zen Buddhist communities in New York and Maine are not at all what they seem. Are the characters who participate in the Buddhist Zendo—Lionel's brother, Gerald, Julia, and Kimmery—influenced by Buddhist teachings? Do the principles of Zen Buddhism (either as expressed in the book by Kimmery or from your knowledge) illuminate some of the themes Lethem explores?
11. Does Lionel in fact become a "real detective"? Do his techniques fit your definition of detective work? Kimmery, for example, is skeptical about both his intentions and his working style [p. 255]. Do you think her evaluation is accurate? In other detective books you may have read, are the heroes completely removed from the personal aspects of the cases they investigate? Is the solution to Minna's murder fully satisfying in light of the evidence presented in the rest of the book?
12. At several points in the book, Lethem makes direct reference to the genres that inform Motherless Brooklyn—both the classic detective novel and "wiseguy" novels and movies. For example, Minna teases Gil for saying "piece," rather than "gun" [p. 8]; and Lionel asks "Have you ever felt, in the course of reading a detective novel, a guilty thrill of relief at having a character murdered before he can step on to the page and burden you with his actual existence?" [p. 119]. In another passage, Lionel compares himself to the standard set in detective literature: "So many detectives have been knocked out and fallen into such strange, swirling darknesses . . . and yet I have nothing to contribute to this painful tradition" [p. 205]. Why does Lethem include these references? Are they simply there for "comic relief" or do they serve another purpose?
13. By using Lionel as narrator, Lethem is following a long tradition in detective fiction. In what ways would the impact on the reader be different if a third-person voice told the story? Why do you think he chose to use a narrator with Tourette's Syndrome? Is this purely a literary device, giving him the opportunity to play with language as an author? Do the classic detective heroes—for example, Dashiell Hammett's Sam Spade and Raymond Chandler's Philip Marlowe—have quirks comparable to Lionel's?
14. Does the title of the book refer only to the four orphans who make up the Minna Men? In what ways is Brooklyn itself "motherless"?
15. The Voice Literary Supplement wrote "Lethem loves to cross-wire popular genres and watch the sparks fly." In addition to the conventions of the hard-boiled detective novel, what other genre does Lethem draw on in Motherless Brooklyn?