The brilliant and funny new novel from the author hailed as 'one of his generation's most gifted writers' by the New York Times
It's 1969 and Denny is on her way to the annual Thanksgiving dinner at the Wright's plush campus house. Denny is more nervous than usual because she has recently begun an affair with Dr Ernest Wright, a psychology professor who happens to be her boss. Needless to say, Ernest's wife Nancy doesn't suspect dowdy Denny of seducing her husband and continues to treat her more like a servant than a friend. To add to the tension, the Wright's only daughter is having a secret affair with Ernest's prot�g�, and the youngest son, Ben, is as delicate and insufferable as only a poetry-writing fifteen-year-old can be. But this year the guests will include Nancy's best friend Anne and her new husband, the celebrated novelist Jonah Boyd, and this fateful holiday will turn out to be like no other.
This engaging though slight family romance centers on manipulative psychoanalyst Ernest Wright; his hysterical wife, Nancy; and their teenage children, Daphne and neurotic budding writer Ben. Their household is a magnet for complicated and clandestine entanglements, with narrator Denny, secretary and lover to Ernest and surrogate daughter to Nancy, fetishizing the Wright house as a substitute for the home she never had; and Glenn, Ernest's graduate student and doppelganger, secretly loving up Daphne. Enter, one Thanksgiving in 1969, Nancy's best friend Anne and her novelist husband, the charming wife-beater Jonah Boyd, who become blowsily seductive surrogate mother and warmly paternal literary mentor to Ben. When the notebooks containing Jonah's nearly finished masterpiece go missing, they take on a mythic status that reverberates through Ben's subsequent career. The tale draws a link between literary creation and family procreation: just as a book started by one writer can be finished by another, the process of psychosexual development started by parents is completed by their Oedipal and Electra stand-ins. Leavitt (The Lost Language of Cranes; Equal Affections; etc.) possesses a limpid style, a gift for characterization and a sharp eye for middle-class family life. But his contrived plot, driven by the characters' obsessions with a talismanic manuscript and a talismanic house (the Wrights cannot bequeath their beloved home to their children because the university where Ernest teaches owns the land), fails to convincingly join together his two themes, the one an exercise in classic Freudianism, the other the sort of writerly pondering of the sources of inspiration that primarily interests other writers.
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April 13, 2005
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