Taffy Brodesser-Akner’s first novel, Fleishman Is in Trouble, featuring Claire Danes and Jessie Eisenberg, was not only headlined on the New York Times bestseller list, but also inspired a successful television series. The impressive narrative blended literary and commercial fiction, intelligently capturing the zeitgeist, addressing the intricate pressures of marriage and parenting within late capitalism in the USA.
Half a decade forward, Brodesser-Akner returns to the literary scene with her sophomore novel, Long Island Compromise. Upon first glance, it seems to tick all the boxes of a successful sequel to her debut work. Narrated in the clever style reminiscent of Fleishman, it uses the story of a rich, discordant Jewish family as a keen metaphor for the downfall of American capitalism. However, in considering Brodesser-Akner’s reputation as both a writer and a New York Times reporter, the second novel appears to be a prudent choice that neither harms nor greatly benefits her career.
The narrative structure of the book is as follows: Carl Fletcher, a prosperous factory mogul and producer of styrofoam moulds, is abducted from his residence in 1980. When he is released one week later following the payment of a hefty ransom (Brodesser-Akner acknowledges in the author’s note that the narrative is inspired by the real incident of Long Island abduction of Jack Teich in 1974), he isn’t physically hurt, but the incident leaves him with PTSD. It significantly impacts his marital life and continues to affect his offspring over many years to come.
Fast forward four decades: Phylis, the matriarch of the Fletcher family and Carl’s mother, has passed away. Ruth, Carl’s wife, gave up her own dreams to care for him and now finds herself disillusioned by her spoiled children, Beamer, Nathan, and Jenny. These adult offspring are all trapped in perpetual adolescence. Beamer, an addict and unsuccessful scriptwriter, maintains regular visits to a dominatrix under the pretence of seeing his therapist.
Christine Anne Foley’s “Bodies” presents a tale that shape-shifts constantly, encapsulating the plight of modern day romance in its narrative. Furthermore, Steve Cavanagh’s Eddie Flynn series receives a much-appreciated sequel in the form of “Witness 8”.
In the meantime, a woman soothes herself by frequenting an overpriced tarot card reader and getting facial fillers. Her husband Nathan, a neurotic pessimist, is employed at his uncle’s law firm in a planning law role which allows him to steer clear of client interfacing. His spouse is engrossed in using funds they don’t really have, to refurbish their kitchen. The youngest member of the family, Jenny, is an active unionist at a university campus. Her affluent family and their lifestyle repulses her. She donates the majority of her earnings to charities, knowing well another quarter will bring in more funds.
When Phylis passes away, the continual stream of money halts abruptly, the accountant vanishes, and the long-delayed family crisis erupts.
Initially the narrative seems to stumble with its first hundred pages filled with repetitive structures and detailed backstory, thereby hampering the flow. However, Brodesser-Akner fits snugly in the list of keen American writers like Tom Wolfe, Philip Roth, and John Updike, who through their works, scrutinize present-day American society. This includes issues like heritage of trauma and wealth, the ebb and flow of the American dream and family, immigration tales, capitalism vs socialism, faith vs atheism, work ethics, privilege, corporate destructiveness on smaller businesses and communities, and ethically dubious lawyers exploiting legal breaches.
Despite this appearing intense, the book is filled with light-hearted moments through the various self-distractions of the individual characters, family dynamics, and the diverse perspectives of three generations. The narrative touches on the darker theme of Carl’s late father, Zelig’s escape from Europe to the United States. In terms of structure, the book is unconventional, zooming in and out of different characters before returning to the main plotline making the story’s culmination approach like a swinging pendulum rather than a straight path, making it an enjoyable read.
During a recent discourse with Publisher’s Weekly, Brodesser-Akner confided that she originally penned 70 pages of this novel, but her agent at the time wasn’t impressed, pushing her to switch her endeavours leading to the creation of Fleishman. The lockdown period saw Brodesser-Akner revisiting Long Island Compromise, which may account for the slight unevenness experienced throughout the book. It appears to struggle with its pacing for about the initial 100 pages, marked by long-winded and recurring sentences as well as excessive backstory, inhibiting the progression of the story. Conversely, the conclusion seems abruptly hastened, and the timely reappearance of a lesser character seems remarkably serendipitous.
Nonetheless, these are not unforgivable faults. In its majority, the novel is astute and thoroughly enjoyable, making for a splendid summer read. If you appreciated Fleishman like I did, you’ll certainly find this book appealing.