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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Chip’s hips and chest felt seriously bruised by his lap and shoulder belts. Otherwise he seemed to be in one piece, as did Jonas and Aidaris.

Gitanas had been thrown around and bludgeoned by loose luggage. He was bleeding from wounds on his chin and forehead. He spoke to Jonas urgently, apparently telling him to cut the lights, but it was too late. There was a sound of great downshifting on the road behind them. The pursuing Jeeps pulled up at the elbow curve, and uniformed men in ski masks piled out.

“Police in ski masks,” Chip said. “I’m struggling to put a positive construction on this.”

The Stomper had crashed in a frozen-over marsh. In the intersecting high beams of two Jeeps, eight or ten masked “officers” surrounded it and ordered everybody out. Chip, pushing open the door above him, felt like a Jack emerging from its box.

Jonas and Aidaris were relieved of their weapons. The contents of the vehicle were methodically dumped on the crusty snow and broken reeds that covered the ground. A “policeman” pressed the muzzle of a rifle into Chip’s cheek, and Chip received a one-word order that Gitanas translated: “He’s inviting you to take your clothes off.”

Death, that overseas relation, that foul-breathed remittance man, had suddenly appeared in the immediate neighborhood. Chip was quite afraid of the gun. His hands shook and lost feeling; it took the entire sum of his will to apply them to the task of unzipping and unbuttoning himself. Apparently he’d been singled out for this humiliation because of the quality of the leather goods he was wearing. Nobody seemed to care about Gitanas’s red motocross jacket or Jonas’s denim. But ski-masked “policemen” gathered round and fingered the fine grain of Chip’s pants and coat. Puffing frost through O-shaped mouth holes with their weirdly decontextualized lips, they tested the flexure of his left boot’s sole.

A cry went up when a wad of U.S. currency fell from the boot. Again the gun muzzle was in Chip’s cheek. Chilly fingers discovered the big envelope of cash under his T-shirt. The “police” examined his wallet as well but didn’t steal his litai or his credit cards. Dollars were all they wanted.

Gitanas, with blood congealing on several quadrants of his head, lodged a protest with the captain of the “police.” The ensuing argument, in which Gitanas and the captain repeatedly gestured at Chip and used the words “dollars” and “American,” ended when the captain pointed a pistol at Gitanas’s bloody forehead and Gitanas raised his hands to concede that the captain had a point.

Chip’s sphincter had meanwhile dilated nearly to the degree of unconditional surrender. It seemed very important to contain himself, however, and so he stood in his socks and underwear and pressed his butt cheeks together as well as he could with his shaking hands. Pressed and pressed and fought the spasms manually. He didn’t care how ridiculous this looked.

The “police” were finding much to steal from the luggage. Chip’s bag was emptied on the snowy ground and his belongings picked through. He and Gitanas looked on while the “police” shredded the Stomper’s upholstery, tore up its floor, and located Gitanas’s reserves of cash and cigarettes.

“What exactly is the pretext here?” Chip said, still shivering violently but winning the really important battle.

“We’re accused of smuggling currency and tobacco,” Gitanas said.

“And who’s accusing us?”

“I’m afraid they’re what they seem to be,” Gitanas said. “In other words, national police in ski masks. There’s kind of a Mardi Gras atmosphere in the country tonight. Kind of an anything-goes type of spirit.”

It was 1 a.m. when the “police” finally roared away in their Jeeps. Chip and Gitanas and Jonas and Aidaris were left with frozen feet, a smashed-up Stomper, wet clothes, and demolished luggage.

On the plus side, Chip thought, I didn’t shit myself.

He still had his passport and the $2,000 that the “police” had failed to locate in his T-shirt pocket. He also had gym shoes, some loose-fitting jeans, his good tweed sport coat, and his favorite sweater, all of which he hurried to put on.

“This pretty much ends my career as a criminal warlord,” Gitanas commented. “I have no further ambitions in that direction.”

Using cigarette lighters, Jonas and Aidaris were inspecting the Stomper’s undercarriage. Aidaris delivered the verdict in English for Chip’s benefit: “ Truck fucked up .”

Gitanas offered to walk with Chip to the border crossing on the road to Sejny, fifteen kilometers to the west, but Chip was painfully aware that if his friends hadn’t circled back to the airport they would probably be safe now with their relatives in Ignalina, their vehicle and their cash reserves intact.

“Eh,” Gitanas said with a shrug. “We might have got shot on the road to Ignalina. Maybe you saved our life.”

“Truck fucked up,” Aidaris repeated with spite and delight.

“So I’ll see you in New York,” Chip said.

Gitanas sat down on a seventeen-inch computer monitor with a stove-in screen. He carefully felt his bloody forehead. “Yeah, right. New York.”

“You can stay in my apartment.”

“I’ll think about it.”

“Let’s just do it,” Chip said somewhat desperately.

“I’m a Lithuanian,” Gitanas said.

Chip felt more hurt, more disappointed and abandoned, than the situation called for. However, he contained himself. He accepted a road map, a cigarette lighter, an apple, and the Lithuanians’ sincere good wishes and set off in the darkness.

Once he was alone, he felt better. The longer he walked, the more he appreciated the comfort of his jeans and gym shoes as hiking gear, relative to his boots and leather pants. His tread was lighter, his stride freer; he was tempted to start skipping down the road. How pleasant to be out walking in these gym shoes!

But this was not his great revelation. His great revelation came when he was a few kilometers from the Polish border. He was straining to hear whether any of the homicidal farm dogs in the surrounding darkness might be unleashed, he had his. arms outstretched, he was feeling more than a little ridiculous, when he remembered Gitanas’s remark: tragedy rewritten as a farce . All of a sudden he understood why nobody, including himself, had ever liked his screenplay: he’d written a thriller where he should have written farce.

Faint morning twilight was overtaking him. In New York he’d honed and polished the first thirty pages of “The Academy Purple” until his memory of them was nearly eidetic, and now, as the Baltic sky brightened, he bore down with a mental red pencil on his mental reconstruction of these pages, made a little trim here, added emphasis or hyperbole there, and in his mind the scenes became what they’d wanted to be all along: ridiculous. The tragic bill QUAINTENCE became a comic fool.

Chip picked up his pace as if hurrying toward a desk at which he could begin to revise the script immediately. He came over a rise and saw the blacked-out Lithuanian town of Eisiskès and, farther in the distance, beyond the frontier, some outdoor lights in Poland. Two dray horses, straining their heads over a barbed-wire fence, nickered at him optimistically.

He spoke out loud: “Make it ridiculous . Make it ridiculous .”

Two Lithuanian customs officials and two “policemen” manned the tiny border checkpoint. They handed Chip’s passport back to him without the bulky stack of litai that he’d filled it with. For no discernible reason except petty cruelty, they made him sit in an overheated room for several hours while cement mixers and chicken trucks and bicyclists came and went. It was late morning before they let him walk over into Poland.

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