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Résumé
Résumé
PEN/Hemingway Award winner Joshua Ferris unfolds the story of Tim Farnsworth, a handsome and healthy man. A father and husband, Tim also works as a partner at a prestigious Manhattan law firm. However, Tim one day walks away from his life completely and never looks back.
Résumé
Joshua Ferris' debut novel Then We Came to the End was both heralded by critics and a New York Times bestseller, and marked the arrival of a startlingly talented young writer. With THE UNNAMED, Ferris imagines the collision between one man's free will and the forces of nature that are bigger than any of us. Tim Farnsworth walks. He walks out of meetings and out of bed. He walks in sweltering heat and numbing cold. He will walk without stopping until he falls asleep, wherever he is. This curious affliction has baffled medical experts around the globe--and come perilously close to ruining what should be a happy life. Tim has a loving family, a successful law career and a beautiful suburban home, all of which he maintains spectacularly well until his feet start moving again. What drives a man to stay in a marriage, in a job? What forces him away? Is love or conscience enough to overcome the darker, stronger urges of the natural world? THE UNNAMED is a deeply felt, luminous novel about modern life, ancient yearnings, and the power of human understanding.
Critiques (6)
Critique du Publishers Weekly
The attorney Tim Farnsworth seems to have it all-a perfect wife, a loving daughter, rewarding and meaningful work-but the return of a mysterious disorder out of The Red Shoes (at any time of day, Tim is compelled to walk until he passes out with exhaustion) threatens to shatter everything he has built. Ferris delivers an understated reading that is all the more moving for its subtlety. His voice is calm-but it's a controlled calm suggestive of the Farnsworth family's terror and their struggle to assert order over the increasing anarchy. Ferris commands without volume or theatrics and his is a sincere, quiet, and moving performance. The audio features a not-to-be-missed interview with the author, in which he analyzes his writing process and offers his own take on the novel. A Little, Brown/Reagan Arthur hardcover (Reviews, Nov. 16). (Jan.) (c) Copyright PWxyz, LLC. All rights reserved
Critique de Booklist
*Starred Review* In a radical departure from his satiric workplace comedy, Then We Came to the End (2007), Ferris turns in a dark and utterly compelling second novel on the insanity of modern life. Tim Farnsworth is a very successful trial attorney who suffers from a mysterious illness. With no warning, he is overcome by the physical compulsion to walk and walk to the point of physical exhaustion. So far, he has recovered twice. But with the third recurrence, the illness threatens to take his family under. Over the years, his wife, Jane, has rescued him countless times, in the middle of the night, in the freezing cold, from suburban communities and city parks. Now both Jane and their daughter, Becka, struggle with deep sadness and the loss of hope as Tim returns home less and less often. Ferris imbues his story with a sense of foreboding, both for the physical world, in the grip of record-breaking temperatures, and for the vulnerable nuclear family and its slow unraveling. With his devastating metaphoric take on the yearning for connection and the struggles of commitment, Ferris brilliantly channels the suburban angst of Yates and Cheever for the new millennium.--Wilkinson, Joanne Copyright 2009 Booklist
Critique du New York Review of Books
THE ad agency employees who form the collective narrative voice of Joshua Ferris's masterly debut, "Then We Came to the End," are on intimate terms with the concept of branding. As branders, they undoubtedly would have advised their creator, in planning his second novel, to hew closely to the recipe that made his first novel such a critical and popular success, that made it read sort of like a highbrow novelization of "The Office." With his second novel Ferris makes it clear that he has absolutely no intention, for the moment at least, of repeating himself or creating an authorial brand. In fact, it's difficult to believe that "The Unnamed" and "Then We Came to the End" come from the same laptop. "The Unnamed" provides brief glimpses of office life - in this case at a highvoltage Midtown Manhattan law firm. Tim Farnsworth is a successful trial attorney, the kind of compulsive overachiever who takes pride in his 14-hour workdays, his knowledge of the law and the power of his rational faculties. He's still devoted to his wife, Jane, when he sees her, though his absence seems to have taken a toll on Becka, his teenage daughter, who is chronically overweight and socially maladroit. Tim's obsessive devotion to his work is ultimately overridden by a more powerful compulsion. Tim Farnsworth literally walks out of his office one cold winter day, the victim of an uncontrollable locomotive impulse. It has happened before. He can't stop walking. Really. Sometimes for miles and miles, until the compulsion is finally spent, at which point he usually lies down wherever he finds himself and falls into a deep and dreamless sleep. The novel opens with the onset of the third recurrence of this disorder, which no doctor or psychiatrist has been able to diagnose. Tim has been to Switzerland, Cleveland and Rochester, Minn. - all the medical meccas, without learning anything useful about his condition, which appears to be sui generis and unnamed. "The health professionals suggested clinical delusion, hallucinations, even multiple personality disorder." As a lawyer Tim believes in precedent, but there is no precedent. He believes his mind is intact, yet there is no evidence of any physical cause. His wife thinks of the problem as "a hijacking of some obscure order of the body, the frightened soul inside the runaway train of mindless matter, peering out from the conductor's car in horror." When Tim suffers a recurrence of the unnamed affliction, he is working on a murder case, defending a major client against charges that he killed his wife. In his pride and stubbornness he clings to the case, despite the fact that he finds himself propelled out of the office and into the street at random intervals. He invents a cover story, claiming that Jane is battling cancer, to cover his frequent disappearances. He develops frostbite; he loses a little toe, then some of his fingers. And while he is on one of his power walks, he is accosted by a man who seems to know all the details of the murder, and who shows him a bloody knife that he claims is the murder weapon. In the grip of his compulsion Tim is unable to stop and confront the man. When he later describes the encounter to the police, they are understandably skeptical. The client is convicted after Tim is forced to pass the case to a colleague. When the unnamed compulsion finally runs its course after a period of months, Tim is accepted back into the firm in a limited capacity. After months of worry and caretaking, his wife slips into compulsive drinking mode and ultimately goes to rehab. Tim on the other hand, starts to appreciate the small things in life, the little details like the sight of tugboats on the river that he's ignored for years. He walks the city streets in a newly observant mode, at one point joining a line, which turns out to be a casting call, and listens to the conversations. "So this was the subculture, so often talked about but so often scattered, invisible as bedbugs, of the struggling actor. With the rest of the artists, together with the immigrants, they carried the city on their backs." Ferris's description of the actors, and the dialogue he creates for them, reminds us of what a brilliant and funny observer he can be. Sadly, Tim's remission, and the novel's flirtation with the textures and tones of daily communal life, is short-lived. It's as if Ferris turns his back on his own abundant gifts as a novelist of manners, his gift for dialogue and for close observation of the linguistic and visual codes of American tribes, and starts walking so fast that he can hardly take in the landscape, let alone the people. "The Unnamed" is a road novel with severe tunnel vision. The grim march with which the novel began recommences; this time Tim personifies his affliction, imagining it as a malevolent alter ego, an "other," with whom he engages in furious arguments. He tries to starve himself, imagining that it is the other who is his corporeal and appetitive self. Whether or not Tim's compulsion began with some sort of psychosis, his dialogue with the other makes him sound like a classic schizophrenic - or like Samuel Beckett in "The Unnamable," a book that would seem to have been on Ferris's mind. Tim stops calling Jane to pick him up, surrendering his grip on domesticity, and adapts to the walking life, crisscrossing the country, sleeping beside the highway, finding shelter where he can, dragging the reader behind him. What does it mean? Tim's affliction might be a metaphor for addiction, for careerism, for any compulsion that drives a man or woman to leave family and community and health behind. A preacher tells Tim near the end of his travels that not everything can be explained by reason - which seems like a mundane lesson for such a grueling course of study. PERHAPS we should be grateful that this isn't another narrative of addiction, with all the tawdry scenes of gutter plumbing, sexual misconduct and the destruction of property. Although come to think of it, squalor and degradation can be, well, vivid. Ferris's descriptions of Tim's misadventures on the road are blurry and generalized. "The path itself was one of peaks and valleys, hot and cold in equal measure, rock, sedge and rush, the coil of barbed wire around a fence post, the wind boom of passing semis, the scantness and the drift." This is not bad writing, but it's not good storytelling. Tim's travels don't really take him anywhere, literally or figuratively, until finally he makes a concerted effort to return to New York, fighting to make headway against the random dictates of his compulsion. Even as he ignores the landscape Ferris scrupulously documents the deterioration of Tim's body and his mind as he struggles to return to Jane, who is dying of cancer. When he visits her in the hospital in between walks, she is astonished to find how little he notices on his travels. He finally starts to observe the world around him so that he can share the details with her, but for this reader, it's too little, way too late. Remember when Paul McCartney went classical with "Liverpool Oratorio"? Me neither. As a fan of "Then We Came to the End" I can admire Ferris's earnest attempt to reinvent himself, but I can't wait for him to return to the kind of thing at which he excels. 'The health professionals suggested clinical delusion, hallucinations, even multiple personality disorder.' Jay McInerney's latest book is "How It Ended: Collected Stories."
Critique du Guardian
This strange book is the follow-up to Then We Came to the End, Joshua Ferris's funny, snappily written first novel, which was published in 2007 and eye-catchingly narrated in the first person plural. Set in a Chicago advertising agency towards the end of the internet boom, Then We Came . . . struck a careful balance between ridiculing and pitying "we who were overpaid", running a cold eye over the surfaces of American business life but also hymning the narcotic comforts of routine. A similar note of "corporate pastoral", as the narrator calls it, echoes through the opening of The Unnamed. Early on, a character finds herself wishing for "the perpetuation, inherently a kind of celebration, of uneventful everyday life. Long live the mundane." This time, though, the wish isn't granted, and the disruption of the characters' lives is brought about in a fable-like yet determinedly inscrutable way. The central figure, Tim Farnsworth, is a New York corporate lawyer, a rich and successful man with a big house in the suburbs and a loving wife who has both feet on the ground. He suffers, however, from an unusual condition, which he's at pains to hide from his colleagues: at unpredictable intervals, he's irresistibly compelled to walk in a random direction until the compulsion passes and he drops with exhaustion. The best medical minds in the US and Europe have failed to explain his ailment, let alone cure it; no one can even tell him for sure if it's a disorder of the body or the mind. (Tim is sure that it's bodily; it's important to him that his mind should be "unimpeachable".) The novel begins with him having a recurrence after several years of freedom from his unnamed condition. Jane, his wife, loyally prepares for another spell of retrieving his prone body from vacant lots. What might Tim's walking come to signify? Readers who ask themselves this question are provided with a range of clues, or cues. Perhaps, for example, he secretly wishes to walk away from, or is being obscurely punished for, the material abundance of his wealthy life, an abundance that's hammered home in the opening pages. Or perhaps there's a more specific connection to his work. His recurrence coincides with an important case: one RH Hobbs, whose private equity firm gives Tim's partners a lot of profitable business, stands accused of murdering his wife, and it's Tim's job to get him off. Then again, there are tensions in the Farnsworth household: Jane found his last walking spell hard to recover from, and Becka, their daughter, is overweight, unhappy and resentful of her father's workaholic absences. Is Tim's condition a kind of distillation of men's tendency to walk away from their homes, or the outcome of a more abstract conflict between mind and body? It probably isn't giving too much away to say that the answer is both none and all of the above, with the additional caveat that Ferris isn't interested in answering questions of this sort. Instead, he piles up further questions, and the accumulating riddles make the novel's tone thrash about like a dropped high-pressure hose. The murder investigation is given a further twist: a strange man falls in step with Tim, tells him that Hobbs is innocent and shows him a bag containing a butcher's knife. At work, meanwhile, Tim struggles comically to keep his partners in the dark about why he's taken to carrying a backpack filled with survival gear at all times. Domestically, the novel spends some time cycling through stock scenes of American life-crisis: Tim being coldly rebuffed by his daughter, Jane abruptly developing a drink problem. There are also hints here and there that something is going apocalyptically wrong with the natural world: extreme weather events, odd behaviour from birds and bees. Apart from the tonal conflict between its various strands, the novel suffers from overwriting and from small but distracting grammatical eccentricities. "Their hands paused in their labor as they turned to look at her"; "Once he ran with the goal to exhaust himself"; "Overcast was riveted to the sky"; a character described as "burdened and discontent": a steady stream of such phrases detracts from the fable's authority. At the narrative level, it's also a problem that Tim's condition - which is frequently said to be unprecedented, unique - is identical in nearly every respect to a complaint that once flourished in continental Europe and is still listed in psychiatric manuals. Tim doesn't lose consciousness or his memory, but otherwise behaves like a classic sufferer from "ambulatory automatism" or dissociative fugue. Anyone who's seen this used as a plot device before will be primed to read Tim's story as a case study, and to wonder why his world-beating doctors never mention it. In spite of these drawbacks, Ferris manages to breathe a spark of life into Tim and Jane, whose relationship eventually becomes quite moving. And towards the end of the novel, when Tim has given himself over full-time to his condition, his way of life seems like something out of early Paul Auster - resonant but opaque, Europeanly alienated but firmly located in an American landscape. That might have been Ferris's aim from the start, but if so, it has to be said, he spends a long time down false trails before he gets there. To order The Unnamed for pounds 11.99 with free UK p&p call Guardian book service on 0330 333 6846 or go to guardian.co.uk/bookshop Caption: article-ferris.1 Apart from the tonal conflict between its various strands, the novel suffers from overwriting and from small but distracting grammatical eccentricities. "Their hands paused in their labor as they turned to look at her"; "Once he ran with the goal to exhaust himself"; "Overcast was riveted to the sky"; a character described as "burdened and discontent": a steady stream of such phrases detracts from the fable's authority. At the narrative level, it's also a problem that [Tim Farnsworth]'s condition - which is frequently said to be unprecedented, unique - is identical in nearly every respect to a complaint that once flourished in continental Europe and is still listed in psychiatric manuals. Tim doesn't lose consciousness or his memory, but otherwise behaves like a classic sufferer from "ambulatory automatism" or dissociative fugue. Anyone who's seen this used as a plot device before will be primed to read Tim's story as a case study, and to wonder why his world-beating doctors never mention it. - Christopher Tayler.
Critique de Kirkus
A successful lawyer finds himself blindsided by a mysterious affliction in Ferris' sophomore effort, an even more ambitious and provocative novel than PEN/Hemingway Award winner Then We Came to the End (2007). Tim Farnsworth's condition has no name (hence the title), and it may disappear for years at a time, but when it returns, Tim feels compelled to walk with no destination, to the point of exhaustion, abandoning all responsibilities of work and family until the disease disappears as mysteriously as it has arrived. With echoes of Samuel Beckett, Tim explains the inexplicable, "You go on and on. Your one note gets repetitive, it's taxing." And some readers might well find this novel taxing in its repetitionas taxing as Tim's wife, Jane, finds dealing with her husband as she also battles first alcoholism and then cancer. As in the author's first novel, office politics play a part here, and there's a deft interweave of the comic and the tragic, but ultimately this dark narrative permits only one ending. With Tim and his doctors trying to determine whether his problem is physical or mental, the book can be read as a parable of addiction or any other condition that refuses to recognize a distinction between mind and body. Or simply as a meditation on the human condition, an evocation of "the ordinary banality of endurance" beneath "the blank expression of eternity." This is Ferris' Something Happenedappropriately enough, since some reviews of Then We Came to the End invoked Catch-22defying in its very premise "the rigid orthodoxies of cause and effect!" upon which most fiction depends. Audacious, risky and powerfully bleak, with the author's unflinching artistry its saving grace. Copyright Kirkus Reviews, used with permission.
Critique du Library Journal
Ferris's title refers to an unidentifiable disease that compels protagonist Tim, with no warning, to walk compulsively, no matter the distance or time of day. His disease, which is unpredictable and has affected him for many years, keeps Tim's wife, Jane, and daughter, Becka, in a state of alert and constant anxiety. While much of the novel is about marriage, commitment, and family illness, readers are gradually taken into uncharted territory. It becomes apparent that Tim's disease is a metaphor for man's inherent lust to wander. The motivation for this lust is unclear, but that's what makes the novel interesting as it stimulates readers to formulate their own interpretation. Ferris (Then We Came to the End) is adept at characterization: Jane may be devoted to her ill husband, but she still has her weak moments, which make her character very human. Verdict Ferris is an intrepid writer-he doesn't provide a solution (there's no cure for Tim)-but he does explore all of the consequences. Highly recommended. [See Prepub Alert, LJ 9/15/09.]-Victor Or, Surrey P.L. & North Vancouver City Lib., B.C. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
