ILX Book Club - Jennifer Egan: A Visit from the Goon Squad

I have now read nine chapters and I like it a lot more than I did after I had read six. Not sure why - I suppose I must prefer Kitty to Lou.

I am reading this very quickly by my standards, and the standards of my life.

xp i guess it's not just writing about women but also being a woman. god. look at me is also about a model, which i guess is a double-strike against it.

― horseshoe, Thursday, May 5, 2011 4:07 AM (3 days ago) Bookmark Suggest Ban Permalink

you know what that review is about, too: The Keep was her first novel where most of it is told from a man's pov.

― horseshoe, Thursday, May 5, 2011 4:08 AM (3 days ago) Bookmark

yah smth i was thinking about this book, i mean, goon squad -- it's the sort of book that it is er easier for a man to have written, in some ways. not that men are any better at the writing half, obviously; just that there's a well-worn path of neurons for ppl to receive this kind of thing when a man does it. tho i don't know, the across-the-board good reviews (plus pulitzer) would seem to run against that, obviously. possibly it blinds us to other stuff that she's doing that we're not used to.

i think the best part of the novel is how compassionate it is, & how much she seemed to want to give all her characters the benefit of the doubt, to do them justice. & that made me eager to spend time in their company, to know them & to empathize w/ them.

― Lamp, Sunday, May 8, 2011 5:29 AM (11 hours ago) Bookmark

tho as i mentioned i think this is totally the worst part of the novel! like when we go back in time and find out the sleazy record exec wasn't ALWAYS a shithead, that was enough thanks, we don't need to go forwards in time and find out that he's mainly a sad figure by the end. -- i don't know. even if you believe we're all redeemable in some fashion it seems odd to have a 100% success rate in any given sample. (this novel made me wonder what religious tradition she was raised in.) though: i do think the whole thing about the pause is kind of an elegant way of acknowledging what she's doing. is there a pause in 'goon squad'? there isn't, i don't think; it'd be nice if there was, but

i'd forgotten the PR section with the general. i liked it! i was willing for it to be operating on its own logic for a while. certainly various sections (the interview + the last chapter, in particular. also maybe the diversions in italy and africa) are off operating on a different level of realism to a lot of the u.s. stuff, this probably depends on your tolerance for it

just1n3 i also really like a.m. homes, i haven't read early douglas coupland in years but hey i even liked jpod

the_pinefox your justification for considering most of them 'shallow characters and empty scenarios' seems to be along the lines of 'these people have desires i do not personally have and/or have done things i never did': this is problematic, insofar as literary criticism goes

also i think i am going to read the keep this evening, i am kind of hoping i will actually dislike it because then i get to come back online and complain about her a lot

what book are you guys reading next

This GOON SQUAD book just keeps getting better and better. I think I might even finish it tonight.

what book are you guys reading next

― puff puff post (uh oh I'm having a fantasy), Sunday, 8 May 2011 Bookmark

ILB Summer Group read POLL

PowerPoint chapter - A++++++++++++

About 20 pages to go, but I am so very very sleepy, I should save them for tomorrow.

But I think this book certainly rewards one's perseverence. I think I'm going to think it's fairly great.

The PowerPoint chapter was A+ in that I finished sixty pages in 10 minutes.

Yes, that was part of its appeal. Came at just the right time.

I read to the end, but I can't remember much about it. Still, successful experiment on the whole. Left with a slightly empty feeling where massive satisfaction should be.

The musical elements were as crap as ever, I think.

Don't know whether to read James Yorkston or Melvin Van Peebles next.

I think there is something PowerPoint-presentation-like about the book as a whole, maybe, and so that chapter comes as less forced and more heartening than it otherwise might; I'm not sure how I would gloss the notion of the book's PowerPointishness, though. On Egan's website she notes that she had a previous attempt at a PowerPoint chapter, I think an actual presentation, that one; so the ambition to write something of that sort had been there a while.

I put off The Keep because I was rereading sections of A Supposedly Fun Thing I'll Never Do Again, so I have only just started The Keep and I would like to add to the assertion, upthread, that there are individual sentences of Vladimir Nabokov's which are better than individual sentences of Jennifer Egan's, that there are individual sentence of David Foster Wallace's, too, which are better than individual sentences of Egan's. However.

There's a line in the Guardian interview that she originally intended to include a chapter in Byronic epic verse because "epic verse and PowerPoint in one novel, come on. Irresistible!" - which does add to the feeling that the structure is just plain arbitrary and gimmicky rather than driven by anything in the story. Which is feasibly fine, but I'd like to think that an arbitrary and gimmicky book should be a bit more fun! Can't help feel that the formal play is more than that though: for a book so concerned with a culture consumed by marketing and pr, seems to me the novel enacts something like that desperation to appeal to as many different markets as possible, like a singer including a dubstep lite track, a power ballad, a pseudo altrock on their debut album.

Was willing to give the book the benefit of the doubt until the final chapter, where it just capsized, I think. Not just for the txt msging, or the terrible mawkishness of the bit where Alex says "What happened to me?" and Bennie twinkles back "You grew up - just like the rest of us", not even the whole disastrous scene of the final concert (especially when she seems to have borrowed Laura Barton's Greil-Marcus-for-beginners manual: "Or it may be that two generations of war and surveillance had left people craving the embodiment of their own unease in the form of a lone, unsteady man on slide guitar") but mostly for the reappearance of the Kenyangrandson - where it felt like Egan wasn't just tying up all her threads, but putting a pretty bow on them for good measure.

I like that last, but then I have no problem with grace laps, but then I guess you have to believe that you've won a race to justify one, or even that the race you're running against yourself is an interesting one. Yes?

I think there's a more interesting argument coexisting with the 'authenticity, maan' one that is all anyone is seeing in that last section: the sentence before that one you quote, in fact: "a crowd at a particular moment of history creates the object to justify its gathering". But oh well.

I'm wondering about this "two generations of war and surveillance", since the last chapter happens, according to my irrefutable calculations, somewhere between 2015 and 2020. One generation of ubiquitous surveillance, maybe. War is of course eternal. But yeah I thought the whole thing was ridic; the txtspeak of course, the 'pointers' - oh right we're just going to abdicate all our aesthetic decisions to toddlers? - and the ethics professor collecting examples of 'calcified morality' - oh right we're just going to throw 300 years of moral philosophy in the bin and become practising moral relativists?

oh right we're just going to abdicate all our aesthetic decisions to toddlers

er

?

i mean i'm sorry if that is an unfair characterisation of whatever her ridiculous scenario is exactly.

i'm torn between "b-but we did already!", "b-but that's not what she suggests!", "b-but we're not operating in a realistic mode here!". i think the third one comes closest to having legs.

Ok I'm also sorry for being mr super boring realist. I would like to hear more about alternative interpretations...

I don't think the book would have been any worse had it ended with the Powerpoint presentation actually, but I think Egan actually undercuts the rockism of the Scotty performance by showing everything that's happening behind the scenes, it's not actually as "real" a cultural moment as the narrator suggests, just as the punk rock so-called golden age isn't as much fun as various narrators want us to believe in hindsight.

I still don't like the final chapter much, it annoyed me that the war was just glossed over, and I'm not sure how we're supposed to get those last-chapter characters without understanding what they actually went through.

I'm happy overall that I read it before they hype, I wasn't really aware it had any particular rep so I approached it wanting to have fun rather than to understand and appraise a Pulitzer winner.

xpost
I got the feeling that the concert was supposed to be even REAL-er as a result of transcending all the backstage shenanigans and marketing!

I read 2/3rds of this a while ago, enjoyed it immensely & have put it aside for a day when I need something breezy and modern to read.

I'm with n/a and lamp overall - I liked it a lot, but don't have very much to say about it. It had a tone I enjoyed - generous, confident, melancholy - and I don't remember significant problems with prose or characters (Not sure why Nabokov got dragged in upthread. I don't remember Egan trying to be Nabokov, or really sharing territory with him, so pointing out that it isn't as good as him shows… what?) Just1n3's comp to early Douglas Coupland felt nearer the mark (he was a bit stronger at images iirc, but Egan's got more range & the knack for drawing a plausible character quickly; that annoying journalistic-aphoristic streak in Coupland also seems to tempt Egan a bit).

Its current rep is a bit out of control, yeah, but I can see why it's happened - the book does feel like it's cracked or caught something – comfortable, poppy, likeable, a bit sad.

Tho' I should finish it before saying more I guess. Not sure I like the sound of this last chapter.

"comfortable, poppy, likeable, a bit sad." - as I said upthread, it's the modern lit equivalent of a Coldplay album!

nahhhhhhhh p sure the structure would be more linear if it were coldplay lit.

Tho i suppose the formal stuff might be the equivalent of 'getting Eno in'.

Not so much structurally as in its tasteful mode of reference: a tasteful bit of Eno, some dutiful nods to Radiohead, a teensy bit of Arcade Fire-y rabble-rousing, a dash of U2 uplift... and some James Blunt sappiness. Except here it's a hint of DeLillo, a splash of DFW, a soupcon of Proust, a modish dab of Shteyngart...

But it doesn't seem hugely like those things, or not in a distracting way: to take Proust, I know she's talked about how she likes the effect of seeing a whole life & the effects of time on 2ndary characters in A La Recherche, and it's something she wanted to get at by other means (and is the epigraph from proust? Don't have my copy here), but I mean that's totally normal, it's just writers thinking about other writers.

i think -- tho the comparisons from music are, i suppose, invited by the thematic material -- they're ultimately not all that enlightening, and get in the way of noticing what this book actually does well.

ledge: like i said, i think that section (and the similar sci fi effects in the powerpoint section) are a particular kind of departure from realism: whether that could be signposted better i'm not sure, and it does depend on your tolerance for that kind of thing, and it could probably be done better. but complaining that these things wouldn't happen seems a little like complaining that the stuff on commercialism in the space merchants is impossible to take seriously, or that soylent green wouldn't ever actually be made from people. (for higher-minded precursors see infinite jest or like delillo or john barth or whatever.) i think the toddlers/'pointers' works as a fun & ridiculous but still kind of scary extrapolation from the shift in pop music consumption from adults to teenagers to tweens -- the creation of new demographic categories & new mediations of human experience thus.

or that soylent green wouldn't ever actually be made from people

i suppose the difference for me is that the rest of the book ('saving the general' and powerpoint chapters excepted perhaps) does work on a realist level, and yr soylent green or whatevers are at least solidly and consistently set in their alternate timeline. the jump to the last chapter in goon squad is a bit of a truck driver's gear change. or compare cloud atlas, where the shift through different times is much more smoothly handled. (setting yr alternate scenario only 5-10 years away doesn't help here either.)

What ledge said.

I do like the way that a book set over a long period of time doesn't just happen to finish in the present-day of when it was published. I just wish her future had made more sense. Also, it seemed odd that she didn't make up some extra silence-containing tracks that came out between now and then for the powerpoint chapter.

But I did find the book overall to be fun, engaging, what have you, and I'm very glad I read it.

I've given it two out of five, but I don't think I'll really make up my mind for a long time yet.

her future is a park slope dystopia of baby stroller traffic jams. the weakest part of the "novel" for me. and lulu was my favorite character, too!

No one will need text speak in the future, phones will autocorrect everything.

I've been avoiding this thread for fear of spoilers 'cos I'm reading slow, but I'm beginning to see it's not really like that. I read 'Safari' tonight and it was pretty excellent, the constant shifting of attention and perspective and horrible little surprises. Very impressive, I'm not sure I've read anything quite like it before.

Who's finished it?

Me

While it's not terrible, it's awfully pedestrian -- it's a bright MFA assignment.

totally agree. the altman-ish perspectival shifts are kind of pointless, more an affectation to simulate coherence than thematically integral. her first collection, emerald city -- though it starts out chick-litty -- is way better. the last story, "sisters of the moon," is one of the best of the 90s

the comment about 'a bright MFA assignment' strikes me a little like stevie t's about 'the kind of generic postmod novel criticism 101 undergrads were writing back in my American Lit classes over 20 years ago'. although it's possible that these are variations of the sort of rhetoric, above passim, that lead us to note that jennifer egan is not as good at writing sentences as is nabokov, i guess, although muted ones.

I don't need her to write sentences like Nabokov – I want her to write Deborah Eisenberg short stories. She should succumb to the temptation of writing more superficially than she's shown.

My comment was about the unusually banal LRB review rather than the novel!

I do agree with Alfred however: bright MFA assignment is pretty much what I said to a friend in conversation last weekend. I really don't understand the fuss about this book. Not just all the prizes, but, as has been noted, apart from this thread you'd struggle to find a single bad word about it anywhere on the internet! Even the folks here who like it seem sort of muted in their praise.

i know you meant the review -- i just think calling that 'undergraduate' or this an 'MFA assignment' is kind of ... expecting miraculously high standards out of undergraduates. and postgraduates

i am being muted in praise (if i am) because i think it is 'a pretty good new novel' or 'about twice to three times as good as jonathan franzen' or 'about as good as 'of love and hunger' by julian maclaren-ross or an ok waugh novel or something'

i think it does a good job of looking at a certain kind of social atomisation (structural loneliness, maybe): looks at it in a way that's aware that facebook is a good emblem or avatar of certain feelings or way of living, but aware, too, that it hardly caused them: looks at it in a way which does a good job both of operating in terms of the individual psyche and wider social/cultural/economic ... stuff

i think the structure is vital to that; i think there are bits that don't quite work, but within the structure they're worth it and function well

i feel like a lot of the complaints here are demonstrating a refusal to engage; that said, i think some of the perhaps overextravagant praise elsewhere is equally based on a refusal or inability to engage, really

a.l.s.: isn't eisenberg waaaaaay more MFAish? i don't know; i still didn't finish even the first story in 'twilight', which oops i have had hanging around ... maybe two years. the last book i read that i thought 'this feels like a damn MFA assignment' was that wells tower collection which is popular here

i mean if anything this book feels under-crafted in the light of what it's trying to do structurally/thematically -- whereas what i think of as 'MFAish' is being crafted to within an inch of its life but light on anything but the merest suggestion of thematic weight, no attempt at a larger structure than 'here is an incident that happened, once'

-

also, i read 'the keep', but it didn't seem very germane to discussing this book, maybe

saw this in the library last week and picked it up (hadn't heard of it outside this thread)

just more than halfway through, the thing it actually reminds me of more than anything is some of the recentish graphic novels by chris ware and especially dan clowes, in particular 'ice haven' by clowes - ie a story told in different fragments, by different narrators, in different styles, with a feeling of middle-aged regret and melancholy. clowes and ware have the beauty of their pictures to help overcome a certain sketchiness - two-dimensionality - in their characters, and the stories/feelings/situations that they create for them, whereas egan only has (to my mind) an essentially unremarkable prose style to fall back on. so her book feels very insubstanial, so far; and because she constantly foregrounds the question of authenticity - of music/culture, or of experience - it puts it in the forefront of my mind the entire time i'm reading the book , makes me think again and again that the whole is ersatz, fake, writerly affectation rather than genuinely observed or felt. I don't but it, basically.

buy it, basically

what i think of as 'MFAish' is being crafted to within an inch of its life but light on anything but the merest suggestion of thematic weight,

Precisely my complaint about this novel.

I forgot to take my book with me for the train today so I read this thread instead. It's very good. The book I like, though Scotty's chapter is a bit horrible.

Finished it, but wasn't that engaged. If she wanted to cover 'reflections on time' she should've done it w/MS Project. All those Gantt charts. That's about all I have.

I'm keeping a wary distance, but I did run across
this interview.

Ha, I'd like to see the "Patron Saint" review the result of his patronage.

Also like the wary distance policy.