This Is Where I Leave You

This Is Where I Leave You

by Jonathan Tropper
This Is Where I Leave You

This Is Where I Leave You

by Jonathan Tropper

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Overview

A riotously funny, emotionally raw New York Times bestselling novel about love, marriage, divorce, family, and the ties that bind—whether we like it or not.

The death of Judd Foxman’s father marks the first time that the entire Foxman clan has congregated in years. There is, however, one conspicuous absence: Judd's wife, Jen, whose affair with his radio- shock-jock boss has recently become painfully public. Simultaneously mourning the demise of his father and his marriage, Judd joins his dysfunctional family as they reluctantly sit shiva and spend seven days and nights under the same roof. The week quickly spins out of control as longstanding grudges resurface, secrets are revealed and old passions are reawakened. Then Jen delivers the clincher: she's pregnant...

“Often sidesplitting, mostly heartbreaking...[Tropper is] a more sincere, insightful version of Nick Hornby, that other master of male psyche.”—USA Today 

NOW A MAJOR MOTION PICTURE STARRING JASON BATEMAN, TINA FEY, JANE FONDA, AND ADAM DRIVER

Product Details

ISBN-13: 9781101108987
Publisher: Penguin Publishing Group
Publication date: 08/06/2009
Sold by: Penguin Group
Format: eBook
Pages: 352
Sales rank: 220,221
File size: 758 KB
Age Range: 18 Years

About the Author

About The Author
Jonathan Tropper is the New York Times bestselling author of One Last Thing Before I Go, How to Talk to a Widower, Everything Changes, The Book of Joe, and Plan B. He lives with his family in Westchester, New York, where he teaches writing at Manhattanville College. He adapted This Is Where I Leave You as a feature film for Warner Brothers Studios was a screenwriter, co-creator, and executive producer of the HBO/Cinemax television show Banshee (produced by Alan Ball).

Read an Excerpt

Chapter 1

Dad’s dead,” Wendy says off handedly, like it’s happened before, like it happens every day. It can be grating, this act of hers, to be utterly unfazed at all times, even in the face of tragedy. “He died two hours ago.”

“How’s Mom doing?”

“She’s Mom, you know? She wanted to know how much to tip the coroner.”

I have to smile, even as I chafe, as always, at our family’s patented inability to express emotion during watershed events. There is no occasion calling for sincerity that the Foxman family won’t quickly diminish or pervert through our own genetically engineered brand of irony and evasion. We banter, quip, and insult our way through birthdays, holidays, weddings, illnesses. Now Dad is dead and Wendy is cracking wise.

It serves him right, since he was something of a pioneer at the forefront of emotional repression.

“It gets better,” Wendy says.

“Better? Jesus, Wendy, do you hear yourself?”

“Okay, that came out wrong.”

“You think?”

“He asked us to sit shiva.”

“Who did?”

“Who are we talking about? Dad! Dad wanted us to sit shiva.”

“Dad’s dead.”

Wendy sighs, like it’s positively exhausting having to navigate the dense forest of my obtuseness. “Yes, apparently, that’s the optimal time to do it.”

“But Dad’s an atheist.”

“Dad was an atheist.”

“You’re telling me he found God before he died?”

“No, I’m telling you he’s dead and you should conjugate your tenses accordingly.”

If we sound like a couple of callous assholes, it’s because that’s how we were raised. But in fairness, we’d been mourning for a while already, on and off since he was first diagnosed a year and a half earlier. He’d been having stomachaches, swatting away my mother’s pleas that he see a doctor, choosing instead to increase the regimen of the same antacids he’d been taking for years. He popped them like Life Savers, dropping small squibs of foil wrapping wherever he went, so that the carpets glittered like wet pavement. Then his stool turned red.

“Your father’s not feeling well,” my mother understated over the phone.

“My shit’s bleeding,” he groused from somewhere behind her. In the fifteen years since I’d moved out of the house, Dad never came to the phone. It was always Mom, with Dad in the background, contributing the odd comment when it suited him. That’s how it was in person too. Mom always took center stage. Marrying her was like joining the chorus.

On the CAT scan, tumors bloomed like flowers against the charcoal desert of his duodenal lining. Into the lore of Dad’s legendary stoicism would be added the fact that he spent a year treating metastatic stomach cancer with Tums. There were the predictable surgeries, the radiation, and then the Hail Mary rounds of chemo meant to shrink the tumors but that instead shrank him, his once broad shoulders reduced to skeletal knobs that disappeared beneath the surface of his slack skin.

Then came the withering of muscle and sinew and the sad, crumbling descent into extreme pain management, culminating with him slipping into a coma, the one we knew he’d never come out of. And why should he? Why wake up to the painful, execrable mess of end-stage stomach cancer? It took four months for him to die, three more than the oncologists had predicted. “Your dad’s a fighter,” they would say when we visited, which was a crock, because he’d already been soundly beaten. If he was at all aware, he had to be pissed at how long it was taking him to do something as simple as die. Dad didn’t believe in God, but he was a life- long member of the Church of Shit or Get Off the Can.

So his actual death itself was less an event than a final sad detail.

“The funeral is tomorrow morning,” Wendy says. “I’m flying in with the kids tonight. Barry’s at a meeting in San Francisco. He’ll catch the red-eye.”

Wendy’s husband, Barry, is a portfolio manager for a large hedge fund. As far as I can tell, he gets paid to fly around the world on private jets and lose golf games to other richer men who might need his fund’s money. A few years ago, they transferred him to the L.A. office, which makes no sense, since he travels constantly, and Wendy would no doubt prefer to live back on the East Coast, where her cankles and post- pregnancy jiggle are less of a liability. On the other hand, she’s being very well compensated for the inconvenience.

“You’re bringing the kids?”

“Believe me, I’d rather not. But seven days is just too long to leave them alone with the nanny.”

The kids are Ryan and Cole, six and three, towheaded, cherub-cheeked boys who never met a room they couldn’t trash in two minutes flat, and Serena, Wendy’s seven-month-old baby girl.

“Seven days?”

“That’s how long it takes to sit shiva.”

“We’re not really going to do this, are we?”

“It was his dying wish,” Wendy says, and in that single instant I think maybe I can hear the raw grief in the back of her throat.

“Paul’s going along with this?”

“Paul’s the one who told me about it.”

“What did he say?”

“He said Dad wants us to sit shiva.”

Paul is my older brother by sixteen months. Mom insisted I hadn’t been a mistake, that she’d fully intended to get pregnant again just seven months after giving birth to Paul. But I never really bought it, especially after my father, buzzed on peach schnapps at Friday-night dinner, had acknowledged somberly that back then they believed you couldn’t get pregnant when you were breast-feeding. As for Paul and me, we get along fine as long as we don’t spend any time together.

“Has anyone spoken to Phillip?” I say.

“I’ve left messages at all his last known numbers. On the off chance he plays them, and he’s not in jail, or stoned, or dead in a ditch, there’s every reason to believe that there’s a small possibility he’ll show up.”

Phillip is our youngest brother, born nine years after me. It’s hard to understand my parents’ procreational logic. Wendy, Paul, and me, all within four years, and then Phillip, almost a decade later, slapped on like an awkward coda. He is the Paul McCartney of our family: better-looking than the rest of us, always facing a different direction in pictures, and occasionally rumored to be dead. As the baby, he was alternately coddled and ignored, which may have been a significant factor in his becoming such a terminally screwed-up adult. He is currently living in Manhattan, where you’d have to wake up pretty early in the morning to find a drug he hasn’t done or a model he hasn’t fucked. He will drop off the radar for months at a time and then show up unannounced at your house for dinner, where he might or might not casually mention that he’s been in jail, or Tibet, or has just broken up with a quasi-famous actress. I haven’t seen him in over a year.

“I hope he makes it,” I say. “He’ll be devastated if he doesn’t.”

“And speaking of screwed-up little brothers, how’s your own Greek tragedy coming along?”

Wendy can be funny, almost charming in her pointed tactlessness, but if there is a line between crass and cruel, she’s never noticed it. Usually I can stomach her, but the last few months have left me ragged and raw, and my defenses have been depleted.

“I have to go now,” I say, trying my best to sound like a guy not in the midst of an ongoing meltdown.

“Jesus, Judd. I was just expressing concern.”

“I’m sure you thought so.”

“Oh, don’t get all passive-aggressive. I get enough of that from Barry.”

“I’ll see you at the house.”

“Fine, be that way,” she says, disgusted. “Good-bye.”

I wait her out.

“Are you still there?” she finally says.

“No.” I hang up and imagine her slamming her phone down while the expletives fly in a machine-gun spray from her lips.

What People are Saying About This

From the Publisher

“In a wry domestic tone nicely akin to Tom Perotta’s, Mr. Tropper . . .introduces a darkly entertaining bunch of dysfunctional relatives. . . . This author’s strong suit is wisecracks, the more irreverent the better.”—Janet Maslin, The New York Times

“Often sidesplitting, mostly heartbreaking…. [Tropper’s] a more sincere, insightful version of Nick Hornby, that other master of male psyche.”—USA Today

“Hilarious and often heartbreaking… a novel that charms by allowing for messes, loose ends and the reality that there's only one sure ending for everyone.”—The Los Angeles Times

“[A] magnificently funny family saga…. Read and weep with laughter. Grade: A”—Entertainment Weekly

“The novel is artful and brilliant, filled with colorful narratives and witty dialogue. ... [Tropper] can find the funny in any situation.”—Associated Press

“Tender and unexpectedly hilarious."—People.com

“Jonathan Tropper is a genius.”—Jane Green

“Jonathan Tropper is the new breed of novelist who writes for men and women with ease and grace.”—Haven Kimmel

“A beautifully crafted book of enormous heart . . . utterly magnificent.”—Augusten Burroughs on The Book of Joe

“Tropper’s book is a smart comedy of inappropriate behavior at an inopportune time.”—Publishers Weekly on How to Talk to a Widower

“A mixture of mourning and mockery . . . surprisingly moving.”—Entertainment Weekly on How to Talk to a Widower

Reading Group Guide

INTRODUCTION

Within the space of a few weeks, Judd Foxman has learned about his wife's fourteen month affair with his misogynist, radio shock-jock boss - only because he walked in on them having sex in his bedroom -- and that his emotionally-distant, cancer-stricken father has finally passed away. And now, Judd discovers, he's being asked to sit shiva, and mourn according to the Hebrew custom for seven uninterrupted days with the remaining members of his highly dysfunctional family.

Between his older brother Paul's decades-long resentment, his sister-in-law's hysterics over her infertility, his younger brother's pre-midlife crisis with a much older woman, his sardonic older sister's callous, absentee husband, his mother's age-inappropriate manner of dressing, and - the reason they're all gathered together - his father's death, Judd barely has time to fixate on his own disaster of a marriage and his lack of a distinct and promising future. And yet he does fixate on it, especially when his soon-to-be-ex wife shows up and announces that she's pregnant, and that the child is his.

With deftly wrought prose and marvelous comedic sense, author Jonathan Tropper brings a grieving Jewish family vividly to life. As day after day of the shiva passes, the Foxman family uncover years of repressed bitterness, confusion, anger, and finally, love for one another. This Is Where I Leave You is an engaging and moving novel, examining the reasons behind our most loving and unloving actions, and exploring our complicated, contradictory relationships with those we call our family.

 


ABOUT JONATHAN TROPPER

Jonathan Tropper is the author of How to Talk to a Widower, Everything Changes, The Book of Joe, andPlan B. He lives with his family in Westchester, New York, where he teaches writing at Manhattanville College. He is currently adapting This Is Where I Leave You as a feature film for Warner Brothers Studios.

 


A CONVERSATION WITH JONATHAN TROPPER

Q. What inspired you to write a book about a fairly secular family observing a traditional Hebrew mourning ritual? Did this situation or premise motivate you to write the book, or was it Judd Foxman's distinctive voice that developed first?

This novel was always first and foremost Judd's book. As a matter of fact, I was writing his story before the idea of the shiva ever occurred to me. I wanted to tell the story of a man who loses everything that he thought defined who he was; his marriage, his career, his home. For me, it was going to be a very intimate look at one man's rock bottom. But then, around a hundred pages in, I wrote a chapter where Judd goes to see his nuclear family - for his father's seventieth birthday, actually. And in writing Judd's siblings and mother, I found that the novel came alive in a way it hadn't up until then. So I decided I had to turn the novel over to them. But what would make a guy in Judd's situation go spend any significant amount of time with his grown siblings in his mother's home. And that's when I came up with the idea of the shiva. All that was left was to kill off his father and convert them all to Judaism.

Q. Despite its serious and emotional subjects, the book is filled with comedic moments that can make the reader laugh out loud. Which part did you enjoy writing the most? Do you, generally, find the humorous moments or the somber moments in your fiction easier to write?

I actually don't find a difference in writing something funny or something somber. Both require just the right touch. I spend a lot of time fine tuning, focusing on word choice, on tone, and on rhythm. A funny line can become a lot less so with one or two extra beats in it. Likewise, a somber sentence can be undone with excessive verbiage or poor word choice. It's the same balancing act, regardless of what the goal is.

Q. Also, what do you find most interesting about the combination of the profane and the sacred (like when the Foxman brothers smoke weed after reading a Kaddish for their father)? Did you work to put moments like this in the book, or do you think they happened naturally because of the characters and the situation(s) they were in?

I think there's a certain irreverence that permeates this book, which is a direct consequence of the fact that you have a group of irreligious people being coerced into a somber religious ritual. So the very premise was a mixing of the sacred and profane, the Foxmans being a fairly profane bunch to begin with. It was certainly not my intention to mock Judaism or religion in any way, but simply to convey how these siblings, raised in a fairly godless house, would find the concepts so alien.

When I wrote about the family going to temple to say Kaddish, it was actually the point in the story where, despite their ignorance and lack of faith, the ritual actually served a purpose for them. In the moment, despite the strangeness of it, the family is nevertheless moved and comforted by the religious ritual. The fact that, ten minutes later the boys light up some doobage in one of the Hebrew School classrooms does not nullify what happened in the temple, although it does serve as a fantastic counterpoint. I mean, really, who hasn't gotten high at temple at some point in his life?

Q. You've been working on a screenplay of this book for Warner Bros. What has it been like working on a screenplay of a book you wrote? What are some of the biggest challenges of writing for the screen, and how do they differ from writing a novel? What did you learn about writing and character development, dialogue, plot development, and other elements of narrative through completing a screenplay?

Adapting this novel for the screen has been surprisingly painstaking and difficult. I know that's not the answer most people expect, but it's the reality. I've written original screenplays and adapting my own book was by far the hardest script I've ever undertaken. The first mistake was doing it so soon after I finished the book. The characters and events were still so fresh to me, that world was still so visible to me, that making the necessary changes for the screenplay did not come easily. To adapt successfully, you have to be able to discard certain underlying frameworks and givens established by the author. When you are the author, that's harder than it sounds. And when you've written it so recently, and are still so close to it, it's even harder. I was on book tour while I was writing the script and it reached a point where I could no longer keep straight what happens in the book and what happens in the script. But ultimately, I think I nailed it, and I'm really hoping they make the movie.

Q. What are you working on now? What will we see from you in the near future, either in a bookstore or in the movie theatre?

Right now I'm writing another novel for Dutton. I never say what it's about because I've discovered that my process is generally to only figure that out when I'm halfway through, and then rewrite the whole damn thing. So while I think I know what the new book is about, I've done this too many times to really be sure of anything anymore.

I'm also going to be adapting The Pleasure of My Company, a fantastic novel written by Steve Martin, for Twentieth Century Fox, which is something I'm very excited about.

I enjoy being able to write both novels and screenplays; it's a kind of creative diversification. The processes are very different and you use different mental muscles. But at heart, and in practice, I'll always be a novelist first. I think like a novelist, and whenever I come up with a story, I conceive it in novelistic terms, not screenwriting terms.

 


DISCUSSION QUESTIONS
  • Discuss Judd Foxman, the novel's protagonist, from his very ironic and dry sense of humor (shared also by his brothers and sister), to his anger and vulnerability regarding his wife's infidelity, to his conflicted emotions regarding his immediate family. What was your first impression of the protagonist/narrator of this novel? What did you find the most engaging aspect of his character? Did you find any aspect of him off-putting?
  • What was your first impression of Judd's wife, Jen? Because you see her almost entirely from Judd's perspective, was there any chance to see her as a sympathetic character before Judd finds her so? Do you think that Judd and Jen have a chance at salvaging their relationship, with or without a baby girl to raise?
  • Discuss Judd's mother and her relationship with each of her children. Do you think that Hillary Foxman was truly a bad mother? Was there any real irony in her being a child-rearing guru? What was your opinion of her character?
  • One of the largest subjects of the book is parenting. Discuss the various parents in the book (Judd and Jen; Wendy and Barry; Hillary and Mort; Linda) and consider the statement (or statements) that Tropper makes about the responsibilities of a parent to his or her child, and, conversely, the responsibilities of a child to his or her parent.
  • Similarly, what comment is Tropper making about the role of trauma and tragedy in our lives? Almost every character in this book suffers or has suffered: Phillip from his neglected/overindulged childhood; Judd from his wife's infidelity; Horry from his brain damage; Paul from the Rottweiler attack; Wendy from her unhappy marriage; and Alice from her infertility. What does their unhappiness, and the way each person copes with that unhappiness, teach us?
  • Most of the characters in this novel struggle against living up to an ideal established either by themselves or by a friend, family member, or spouse. Judd fails to be the perfect husband, brother, and son; Jen fails to be the perfect wife; Wendy fails to be the perfect mother and Alice fails to become a mother at all. Mort and Hillary Foxman, it turns out, fail their children spectacularly in some ways while succeeding in others. What do the lives of these characters reveal to us about perfectionism, ideals, and our expectations for ourselves and others?
  • Also, compare and contrast the various romantic relationships in this book: who, do you think, had the most admirable or lasting relationship? Who had the most realistic one? Who had the most insurmountable problems? (Is there such a thing as an insurmountable problem, especially looking at problems from Phillip's point of view?)
  • For all of their faults, is the Foxman clan a likeable group of people? What makes them an endearing group of people? Who did you like the most, and who did you find the least appealing, and why? Were there any characters you would have liked to see developed further?
  • Throughout the book Judd has recurring nightmares that often involve a prosthetic limb. Discuss the way these dreams acted as elements of foreshadowing and symbolism throughout the narrative. Consider, too, how they reflected Judd's emotional state as the novel progresses.
  • What did you think of Judd's exit at the end of the shiva? Was his disappearance in Phillip's Porsche realistic? Appropriate? Did you find it a satisfying resolution to the book?
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