Zusammenfassung
Zusammenfassung
NATIONAL BESTSELLER * An exhilarating novel about one American family and the dark moment that shatters their suburban paradise, from the New York Times bestselling author of Fleishman Is in Trouble
New York Times Book Review Editors' Choice * New York Magazine's Beach Read Book Club Pick * Belletrist Book Club Pick
A BEST BOOK OF THE YEAR: The New York Times Book Review, Oprah Daily, The New Yorker, Time, The Washington Post, NPR, Vogue, Town & Country, New York Post, Harper's Bazaar, Elle, Parade, Kirkus Reviews
"Joins the pantheon of great American novels."-- Los Angeles Times
"Exuberant and absorbing . . . a big old-fashioned social novel."-- The Atlantic
"Were we gangsters? No. But did we know how to start a fire?"
In 1980, a wealthy businessman named Carl Fletcher is kidnapped from his driveway, brutalized, and held for ransom. He is returned to his wife and kids less than a week later, only slightly the worse, and the family moves on with their lives, resuming their prized places in the saga of the American dream, comforted in the realization that though their money may have been what endangered them, it is also what assured them their safety.
But now, nearly forty years later, it's clear that perhaps nobody ever got over anything, after all. Carl has spent the ensuing years secretly seeking closure to the matter of his kidnapping, while his wife, Ruth, has spent her potential protecting her husband's emotional health. Their three grown children aren't doing much better: Nathan's chronic fear won't allow him to advance at his law firm; Beamer, a Hollywood screenwriter, will consume anything--substance, foodstuff, women--in order to numb his own perpetual terror; and Jenny has spent her life so bent on proving that she's not a product of her family's pathology that she has come to define it. As they hover at the delicate precipice of a different kind of survival, they learn that the family fortune has dwindled to just about nothing, and they must face desperate questions about how much their wealth has played a part in both their lives' successes and failures.
Long Island Compromise spans the entirety of one family's history, winding through decades and generations, all the way to the outrageous present, and confronting the mainstays of American Jewish life: tradition, the pursuit of success, the terror of history, fear of the future, old wives' tales, evil eyes, ambition, achievement, boredom, dybbuks, inheritance, pyramid schemes, right-wing capitalists, beta-blockers, psychics, and the mostly unspoken love and shared experience that unite a family forever.
Rezensionen (5)
Publisher's Weekly-Rezension
Brodesser-Akner (Fleishman Is in Trouble) easily avoids the sophomore slump with another incisive and witty portrait of New York Jewish life. In 1980, wealthy polystyrene manufacturer Carl Fletcher was kidnapped from his Long Island home and held for a week until his wife, Ruth, paid the $250,000 ransom. Now, 40 years later, he's still traumatized, and is dutifully tended to by the controlling but loyal Ruth. Their three children also continue to live under the shadow of the kidnapping. There's Beamer, a moderately successful screenwriter with a secret drug and BDSM addiction; Nathan, a lawyer who's too timid for the partner track at his firm; and Jenny, a union organizer whose chief pleasure in life is pissing off her mother. Beamer is excited about an idea for a new project starring Mandy Patinkin when Jenny texts with troubling news: due to a series of financial reversals, the family fortune they've all depended on is gone. How the Fletchers respond to the crisis and finally put their shared past to rest forms the core of this entertaining saga. Brodesser-Akner's latest combines the smarts of Sarah Silverman's stand-up, the polymath verisimilitude of Tom Wolfe's novels, and the Jewish soul of Sholem Aleichem's stories. This is a comedic feast. Agent: Sloan Harris, CAA. (July)
Guardian Review
"Do you want to hear a story with a terrible ending?" opens Taffy Brodesser-Akner's second novel, irresistibly. Sure we do! She is, after all, the laureate of upended lives, as her smash-hit 2019 debut Fleishman Is in Trouble showed. There follows a 30-page account - inspired by real events but twisted into fictional counterparts - of the abduction in 1980 of the "kidnappably rich" Carl Fletcher, patriarch of one of the wealthiest families on Long Island. (The family's money comes from a packaging factory they own in the prosperous town of Middle Rock.) A kidnapping is a story that comes with inbuilt tension ("We have your Zionist scum husband") and colour, as the locals are rendered "speechless" by the news - though "none of them could stop talking about it". Carl survives his ordeal, so where's the terrible ending? Like revenge, some things are best served cold, and the bulk of this chunky book goes down a generation to the children of Carl and his wife, Ruth. Each of them - Nathan, Bernard, AKA Beamer, and Jenny - gets a sustained run of a hundred or so pages for their own story: the collected turmoils and travails of the Fletcher clan. Brodesser-Akner's thinking seems to be: the family members have been cushioned by their money from many of the knocks the rest of us suffer, so why not have a little fun with them? Beamer's story is the most outlandish. We meet him in the middle of one of his regular "drug-fuelled orgies with sex workers", where he re-enacts his father's kidnapping. There, he assuages his need for pain by "getting anally penetrated by toothless women" and tops up his appetite for humiliation by fretting about why his screenplay-writing career has gone south, despite the fact that his latest script "even meets diversity checklists! If you add Jews to them!". Could it be because all his film pitches are about kidnappings? He also thinks his wife, Noelle, is going to leave him, but he's not sure - he's Jewish, she's Presbyterian, and "her ancestors had left their ability to share their feelings on the Mayflower". He also develops a very funny obsession with the actor Mandy Patinkin. His brother, Nathan, is quieter, working - despite the family money meaning he doesn't need to - as a lawyer, but without much ambition. Like Beamer, he discovers that "they don't tell you how long the tail is on self-destruction - how you could self-destruct over and over and for so, so long without even coming close to the end" - though Nathan's is via a desire to please everyone at the same time and not just himself. Then it's sister Jenny's turn, though by now we're running into diminishing returns, as Brodesser-Akner's energy for writing about campus union politics is much lower than it is for Beamer's kinks or Nathan's bribes. But after each of the Fletcher children reaches a nadir, we return for the last stretch of the novel to the family as a whole, including Carl - remember him? - who has discovered that, after the trauma of his kidnapping, "there was no treatment. How do you treat what is now called your life?". There's a lip-smacking relish to the way Brodesser-Akner delivers devastation on her luckless characters, and the slow, inevitable flow of failure, where the character can only watch but is powerless to stop it. She is very good, too, on mother Ruth trying to hold the family together, which comes as a relief, since, otherwise, as with Fleishman, the men get the lion's share of the pages. And we do get the terrible ending we were promised. One reason Beamer's latest script is unsuccessful, one character tells him, is that it's "not really of the time", and the same could be said for Long Island Compromise. It's out of step with literary trends, but there's clearly an appetite for this sort of old-fashioned maximalist rush of storytelling, as we see from the success of Fleishman, not to mention recent novels by Nathan Hill and Jonathan Franzen. The reader sinks into it, submissively, and enjoys the show. This is not fiction that is efficient and controlled, containing only what's necessary. It's too much at times - do we need a diversion every time a new character appears? - but sometimes too much is just right.
Kirkus-Rezension
After the paterfamilias is kidnapped, nobody in this family is ever the same. "Do you want to hear a story with a terrible ending?" Of course we do. So begins the glorious festival of schadenfreude that is this second book by Brodesser-Akner, who was apparently just getting started with her blockbuster debut, Fleishman Is in Trouble (2019)--she hits it out of the park with this much more ambitious follow-up. As the children of Carl Fletcher joke among themselves, discussing a TV show that's like a Jewish version of Succession, "What Jew our age wants the family business?" Well, it's a styrofoam factory, not a media conglomerate, for one thing, and for another, these three broken people have been stewed in the juice of a terrible event in their family history: In 1980, when Nathan and Beamer were small and Jenny was in utero, their father was kidnapped out of the driveway and held for several days. He was released upon payment of the third-largest domestic ransom to that time, $250,000. While two of the perps were convicted, the majority of the loot was not recovered, a fact that Carl is still thinking about at his twin grandsons' bar mitzvah decades later. "White people problems" are generally those that can be fixed by judicious spending, but no amount of money can fix what's wrong with the Fletchers; as the knowing narrator points out, "There is no post. There's only trauma." To which Carl's wife, Ruth (what a great character), might snort, "Dr. Phil over here." Indeed, for all the trauma, there are laugh-out-loud moments galore. And the title? It starts out coined by teenagers as something dirty, but as the book progresses, one comes to see that even the crime at the center of the book is a (very sad and twisted) version of the Long Island compromise. A great American Jewish novel whose brew of hilarity, heartbreak, and smarts recalls the best of Philip Roth. A triumph. Copyright (c) Kirkus Reviews, used with permission.
Booklist-Rezension
For several terrifying days in 1980, Carl Fletcher, head of his family factory, is kidnapped and tortured, until his wife, Ruth, drops $250,000 on a JFK baggage claim, per kidnappers' instruction, and Carl is returned. (An author's note explains that the crime is based on the high-profile 1974 kidnapping of Jack Teich, whose family intersected with the author's, but the similarities end there.) Everyone is traumatized, but at least the ransom was easily enough obtained: the Fletchers are fabulously wealthy thanks to Carl's late father, Zelig, who fled the Holocaust and worked his way up the American ladder producing Styrofoam, that ingenious (and alas, highly toxic) insulator. Brodesser-Akner's (Fleishman Is in Trouble, 2019) second novel unfolds through the present-day lives of Carl and Ruth's grown children: charismatic screenwriter Beamer, nervous attorney Nathan, and bristly labor organizer Jenny. Having been roundly pilloried by her kids, Ruth, too, gets a say, but Carl is barely there. This is more complicated than Fleishman, and messy to the point of unwieldy at times--sort of like the Fletchers themselves. But Brodesser-Akner is a steady, imaginative, insightful writer, and there are riotous passages, haunting dybbuks, and unseen twists that make it thoroughly discussable. Readers will get lost and found in its universe of wealth, family, faith, and other fallible securities.HIGH-DEMAND BACKSTORY: Following the runaway success of Fleishman Is in Trouble, in print and on TV, this, too, is already being adapted into a streaming series.
Library Journal-Rezension
Listeners may never have met anyone like the Fletchers, but they'll recognize something in them that's both endearing and maddening. This is the art of Brodesser-Akner's (Fleishman Is in Trouble) family epic. Emphasis on the "epic"--the Fletchers are ultra-rich, ultra-anxious, and falling apart. The book starts with the kidnapping of Carl Fletcher, whose family money comes from a Styrofoam business. His wife, Ruth, doesn't bat an eye at withdrawing $250,000 for the ransom, and also doesn't hesitate to drag her toddler son along for the ride. What follows is the trickle-down effect of Carl's kidnapping (and the family fortune) on the adult Fletcher children years later: Nathan is so worried about his family's safety that he can't stop buying insurance, Beamer (once a Hollywood golden boy) needs the money to maintain his image, and Jenny despises the money so much that she gives it all away. Narrated deftly by Edoardo Ballerini, this is a compelling listen rife with anxiety. It is social satire at its darkest; the laughs are genuine, but there is also dread as the money starts to run out. The Fletchers make so many bad choices that the sense of their impending doom never quite dissipates, and Ballerini ably conveys the intense emotion and visceral stress that drive the plot. VERDICT A great listen that might compel audiences to take a break and gather a deep breath before diving back in.--Katy Hite