Jonathan Franzen - The Corrections

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The Corrections: краткое содержание, описание и аннотация

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Amazon.com Review
From Publishers Weekly Jonathan Franzen’s exhilarating novel
tells a spellbinding story with sexy comic brio, and evokes a quirky family akin to Anne Tyler’s, only bitter. Franzen’s great at describing Christmas homecomings gone awry, cruise-ship follies, self-deluded academics, breast-obsessed screenwriters, stodgy old farts and edgy Tribeca bohemians equally at sea in their lives, and the mad, bad, dangerous worlds of the Internet boom and the fissioning post-Soviet East.
All five members of the Lambert family get their due, as everybody’s lives swirl out of control. Paterfamilias Alfred is slipping into dementia, even as one of his inventions inspires a pharmaceutical giant to revolutionize treatment of his disease. His stubborn wife, Enid, specializes in denial; so do their kids, each in an idiosyncratic way. Their hepcat son, Chip, lost a college sinecure by seducing a student, and his new career as a screenwriter is in peril. Chip’s sister, Denise, is a chic chef perpetually in hot water, romantically speaking; banker brother Gary wonders if his stifling marriage is driving him nuts. We inhabit these troubled minds in turn, sinking into sorrow punctuated by laughter, reveling in Franzen’s satirical eye:
Gary in recent years had observed, with plate tectonically cumulative anxiety, that population was continuing to flow out of the Midwest and toward the cooler coasts…. Gary wished that all further migration [could] be banned and all Midwesterners encouraged to revert to eating pasty foods and wearing dowdy clothes and playing board games, in order that a strategic national reserve of cluelessness might be maintained, a wilderness of taste which would enable people of privilege, like himself, to feel extremely civilized in perpetuity.
Franzen is funny and on the money. This book puts him on the literary map.
— Tim Appelo 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 be his 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 2001 Cahners Business Information, Inc.

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The reservation line rang day and night. She needed to work , to work . But Robin called her at midmorning or midafternoon on the executive chef’s line, her voice pinched with shyness, her cadences syncopated with embarrassment: “So — I was wondering — do you think — could I see you for a minute?” And instead of saying no, Denise kept saying yes. Kept delegating or delaying sensitive inventory work, tricky preroastings, and necessary phone calls to purveyors to slip away and meet Robin in the nearest strip of park along the Schuylkill. Sometimes they just sat on a bench, discreetly held hands, and, although non-work conversations during work hours made Denise extremely impatient , discussed Robin’s guilt and her own dissociated lack of it, and what it meant to be doing what they were doing, how exactly it had come to pass. But soon the talking tapered off. Robin’s voice on the executive chef’s line came to signify tongue . She didn’t say more than a word or two before Denise tuned out. Robin’s tongue and lips continued to form the instructions demanded by the day’s exigencies, but in Denise’s ear they were already speaking that other language of up and down and round and round that her body intuitively understood and autonomously obeyed; sometimes she melted so hard at the sound of this voice that her abdomen caved in and she doubled over; for the next hour-plus there was nothing in the world but tongue, no inventory or buttered pheasants or unpaid purveyors; she left the Generator in a buzzing hypnotized state of poor reflexes, the volume of the world’s noise lowered to near zero, other drivers luckily obeying basic traffic laws. Her car was like a tongue gliding down the melty asphalt streets, her feet like twin tongues licking pavement, the front door of the house on Panama Street like a mouth that swallowed her, the Persian runner in the hall outside the master bedroom like a tongue beckoning, the bed in its cloak of comforter and pillows a big soft tongue begging to be depressed, and then.

This was all, safe to say, new territory. Denise had never wanted anything, certainly not sex, like this. Simply coming, when she was married, had come to seem like a laborious but occasionally necessary kitchen chore. She cooked for fourteen hours and routinely fell asleep in street clothes. The last thing she wanted late at night was to follow a complicated and increasingly time-consuming recipe for a dish she was too tired to enjoy in any case. Prep time a minimum fifteen minutes. Even after that, the cooking was seldom straightforward. The pan overheated, the heat was too high, the heat was too low, the onions refused to caramelize or burned immediately and stuck; you had to set the pan aside to cool off, you had to start over after painful discussion with the now angry and anguished sous-chef, and inevitably the meat got tough and stringy, the sauce lost its complexity in the repeated dilutions and deglazings, and it was so fucking late , and your eyes were burning, and OK, with enough time and effort you could fairly reliably get the sucker plated, but by then it was something you might hesitate to serve your floor personnel; you simply bolted it (“OK, there,” you thought, “I came”) and fell asleep with an ache. And it was so not worth the effort. But she’d made the effort every week or two because her coming mattered to Emile and she felt guilty. Him she could please as adroitly and unfailingly (and, before long, as unthinkingly) as she clarified consommé; and what pride, what pleasure, she took in the exercise of her skills! Emile, however, seemed to believe that without a few shudders and semi-willed sighs on her part the marriage would be in trouble, and although later events proved him one-hundred-percent correct, she couldn’t help feeling, in the years before she clapped eyes on Becky Hemerling, enormous guilt and pressure and resentment on the Ο front.

Robin was prêt-à-manger. You didn’t need a recipe, you didn’t need prep, to eat a peach. Here was the peach, boom, here was the payoff. Denise had had intimations of ease like this with Hemerling, but only now, at the age of thirty-two, did she get what all the fuss was about. Once she got it, there was trouble. In August the girls went to camp and Brian went to London, and the executive chef of the hottest new restaurant in the region would get out of a bed only to find herself down on some carpet, would dress only to find herself undressing, would come as close to escape as the entry hall and then find herself coming with her back to the front door; jelly-kneed and slit-eyed, she dragged herself back to a kitchen to which she’d promised to return in forty-five minutes. And this was not good. The restaurant was suffering. There was gridlock on the line, delays on the floor. Twice she had to strike entrées from the menu because the kitchen, doing without her, had run out of prep time. And still she went AWOL in the middle of the second evening rush. She drove through Crack Haven and down Junk Row and past Blunt Alley to the Garden Project, where Robin had a blanket. Most of the garden was mulched and limed and planted now. Tomatoes had grown up inside bald tires outfitted with cylinders of gutter screen. And the searchlights and wing lights of landing jets, and the smog-stunted constellations, and the radium glow from the watch glass of Veterans Stadium, and the heat lightning over Tinicum, and the moon to which filthy Camden had given hepatitis as it rose, all these compromised urban lights were reflected in the skins of adolescent eggplants, young peppers and cukes and sweet corn, pubescent cantaloupes. Denise, naked in the middle of the city, rolled off the blanket into night-cool dirt, a sandy loam, freshly turned. She rested a cheek in it, pushed her Robiny fingers down into it.

“God, stop, stop,” Robin squeaked, “that’s our new lettuce.”

Then Brian was home and they started taking stupid chances. Robin explained to Erin that Denise hadn’t felt well and had needed to lie down in the bedroom. There was a feverish episode in the pantry at Panama Street while Brian read Ε. Β. White aloud not twenty feet away. Finally, a week before Labor Day, there came a morning in the director’s office at the Garden Project when the weight of two bodies on Robin’s antique wooden desk chair snapped its back off. They were laughing when they heard Brian’s voice.

Robin jumped up and unlocked the door and opened it in one motion, to conceal that it had been locked. Brian was holding a basket of speckled green erections. He was surprised — but delighted, as always — to see Denise. “What’s going on in there?”

Denise knelt by Robin’s desk, her shirt untucked. “Robin’s chair broke,” she said. “I’m licking a take at Robin’s chair.”

“I asked Denise if she could fix it!” Robin squeaked.

“What are you doing here?” Brian asked Denise, very curious.

“I had the same thought you had,” she said. “Zucchini.”

“Sara said nobody was here.”

Robin was edging away. “I’ll go talk to her. She should know when I’m here.”

“How did Robin break that?” Brian asked Denise.

“I don’t know,” she said. She had the bad child’s impulse to cry when caught red-handed.

Brian picked up the top half of the chair. He had never specifically reminded Denise of her father, but she was pierced now by the resemblance to Alfred in his intelligent sympathy for the broken object. “This is good oak,” he said. “Weird it should just suddenly break.”

She rose from her knees and wandered into the hall, stuffing shirt into pants as she went. She kept wandering until she was outside and got into her car. She drove up Bainbridge Street to the river. Pulled up to a galvanized guardrail and killed the engine by letting out the clutch, let the car lurch into the guardrail and bounce back dead, and now, finally, she broke down and cried about the broken chair.

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