Beautiful Children: A Novel [Paperback]

Charles Bock (Author)

Book Description

Release date: January 13, 2009

One Saturday night in Las Vegas, twelve-year-old Newell Ewing goes out with a friend and doesn’t come home. As the boy’s distraught parents navigate the mystery of what’s become of their son, the circumstances surrounding Newell’s vanishing and other events on that same night reverberate through the lives of seemingly disconnected strangers: a comic book illustrator in town for a weekend of debauchery; a painfully shy and possibly disturbed young artist; a stripper who imagines moments from her life as if they were movie scenes; a bubbly teenage wiccan anarchist; a dangerous and scheming gutter punk; a band of misfit runaways. These “urban nomads,” each with a past to hide and a pain to nurture, search for salvation as they barrel toward destruction, weaving their way through a neon underworld of sex, drugs, and the spinning wheels of chance.

Product Details

• Paperback: 432 pages
• Publisher: Random House Trade Paperbacks; Reprint edition (January 13, 2009)
• Language: English
• ISBN-10: 0812977963
• ISBN-13: 978-0812977967
• Product Dimensions: 5.2 x 0.9 x 7.9 inches
• Shipping Weight: 10.6 ounces (View shipping rates and policies)
• Average Customer Review: 2.9 out of 5 stars  See all reviews (61 customer reviews)
• Amazon Best Sellers Rank: #1,023,665 in Books (See Top 100 in Books)

Editorial Reviews

From Publishers Weekly

A wide-ranging portrait of an almost mythically depraved Las Vegas, this sweeping debut takes in everything from the bland misery of suburban Nevada to the exploitative Vegas sex industry. At the nexus of this Dickensian universe is Newell Ewing, a hyperactive 12-year-old boy with a comic-book obsession. One Saturday night, Newell disappears after going out with his socially awkward, considerably older friend. Orbiting around that central mystery are a web of sufferers: Newell's distraught parents, clinging onto a fraught but tender marriage; a growth-stunted comic book illustrator; a stripper who sacrifices bodily integrity for success; and a gang of street kids. Into their varying Vegas tableaux, Bock stuffs an overwhelming amount of evocative detail and brutally revealing dialogue (sometimes in the form of online chats). The story occasionally gets lost in amateur skin flicks, unmentionable body alterations and tattoos, and the greasy cruelty of adolescents, all of which are given unflinching and often deft closeups. The bleak, orgiastic final sequence, drawing together the disparate plot threads, feels contrived, but Bock's Vegas has hope, compassion and humor, and his set pieces are sharp and accomplished. (Jan.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. --This text refers to an out of print or unavailable edition of this title.

From Bookmarks Magazine

This novel about Vegas has been the subject of considerable hype, including a full feature on Bock in the New York Times Magazine. Only a few reviewers found Bock’s debut Beautiful Children brilliant, but to elicit such a reaction, Bock needs the critical equivalent of a straight flush. He needs readers who are willing to accept pages and pages of explicit sexual description, an unorthodox narrative structure, unlikable characters, and an ending that may not satisfy the logic of the missing-person plot. For readers willing to accept all these, or for readers heavily invested in the book’s milieu, Beautiful Children will provide ample payoff. But many readers will find this crowded intersection of postmodern storytelling and postadolescent characters a mere full house.
Copyright © 2004 Phillips & Nelson Media, Inc. --This text refers to an out of print or unavailable edition of this title.

See all Editorial Reviews

Product Details

• Paperback: 432 pages
• Publisher: Random House Trade Paperbacks; Reprint edition (January 13, 2009)
• Language: English
• ISBN-10: 0812977963
• ISBN-13: 978-0812977967
• Product Dimensions: 5.2 x 0.9 x 7.9 inches
• Shipping Weight: 10.6 ounces (View shipping rates and policies)
• Average Customer Review: 2.9 out of 5 stars  See all reviews (61 customer reviews)
• Amazon Best Sellers Rank: #1,023,665 in Books (See Top 100 in Books)

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Most Helpful Customer Reviews

86 of 94 people found the following review helpful

2.0 out of 5 stars surprisingly disappointing February 7, 2008

By Brooklyn reader

Format:Hardcover

What I want most from a novel is to be transported and totally taken up into a character's world, and in those respect I couldn't connect with this novel. I found the lost child plot surprisingly leaden, just like the style and tone of the most of the rest of the book. Other commenters have said, this book tells more than shows, and I'd agree with that, and just add that the fact that so much of the prose is summary and a series of lists and litanies added to that deadened, flat-footed quality. It's also the reason, I think, that these characters don't really feel distinct from one another--the author too often conveys their lives in list and summary rather than creating scenes that live on the page. The places that are described don't feel particularly real to me--having been to Vegas and having seen it on television and in movies, I wanted to see the city in a new way, and in this book the imagery felt too flat and familiar.

Reading this book brought to mind a number of titles that do similar things much better. Those looking for a much stronger nerd character ala Bix should read Junot Diaz's Brief Wondrous Life of Oscar Wao, in which an irresistible character is conjured with a lot of verve and warmth. For a multi-layered, multi-character exploration of a dissolute city, I'd highly recommend Bruce Wagner's I'm Losing You, which tempers pathos with a dark humor and also a sense of compassion, and has a lot more depth than this novel. On that note, also Play It As It Lays by Joan Didion--you get the layers and points of view in the context of characters who are so real that it hurts.

20 of 22 people found the following review helpful

4.0 out of 5 stars No Middle Ground -- Readers Will Either Love It or Hate It February 23, 2008

By Steve Koss VINE™ VOICE

Format:Hardcover

Without doubt, Charles Bock's BEAUTIFUL CHILDREN is a novel of extremes, and readers' reactions are likely to take that love/hate form as well. Some will find Bock's writing bluntly searing, his scarred adolescent characters sympathetic, his message of a lost generation tragic. Others will be repulsed by his wallowing in the social underbelly of America's national underbelly, Las Vegas, or they will reject his literary pyrotechnics as gratuituous, semi-pornographic, too-clever-by-half attention-seeking (a notion only too readily confirmed by his scruffy visage and too-punk-by-half-for-a-Bennington-College-MFA website). I found myself leaning with admiration more toward the former attitude than the latter, although I can see a multitude of reasons for some readers to reject this first novel and its subject matter out of hand.

Bock's story follows two alternating timelines, predominantly in an uncertain present with an undefined future as backdrop. In the novel's present, a single night marked by chapter headings showing the evening's passage of time, a hyperactive, disaffected, and distinctly unlikable twelve-year-old named Newell Ewing cavorts through Las Vegas in the company of a bizarrely codependent older boy named Kenny, an insecure, aspiring comic book artist.... As Newell and Kenny wind their way from a casino floor to a 7-Eleven convenience store and ultimately toward a desert night punk rock concert, their story is sandwiched by the same evening's travails of several parallel lives - a young hustler named Ponyboy, his artificially enhanced stripper girlfriend Cheri Blossom, a runaway named Lestat and his drugged out pregnant traveling companion, Danger-Prone Daphney, a shaven-headed teenage runaway girl, and an older, moderately successful comic book artist improbably named Bing Beiderbixxe.

The author sets these disparate stories against a second time frame, three or four months in the future, focused on Newell's parents, Lincoln (an event salesman for one of the Vegas casinos) and Lorraine. In that near future, Newell is a missing child who disappeared on the night of that desert concert and has not been seen since. Bock examines the couple's deteriorating marital relationship and their conflicting ways of coping with Newell's unresolved disappearance - Lincoln through rational hope and immersion in his work, Lorraine through watching old video tapes of her son when she's not saving abandoned cats and taking on other lost causes.

Slowly but steadily, Bock leads his "beautiful children" toward their climactic convergence at the desert concert, where the facts of Newell's disappearance will presumably become clear and the knowledge denied to Lincoln and Lorraine will be bestowed upon the patient reader. It would be too much of a spoiler to describe how the author handles this reveal. Suffice to say, the resolution is wholly consistent with the rest of the story and the characters' troubled lives.

Bock's hometown of Las Vegas becomes, for him, the shining city on the hill, the irresistible magnet drawing toward it the runaways and other adolescent refuse of American society. His portrayal of these young people is blunt and, at times, disturbingly graphic. Yet he avoids moralizing about emotionally absent parents, uncaring schools, or a corrupting consumerist culture. Instead, he paints a tragic picture of what is without asking why. Are his characters overblown, little more than caricatures of street life for runaways? Probably not, more likely a compendium of types and instances brought together in a single place. Through it all, however, the movie in Cheri's head finally offers the author's own view, spoken in a wimpled nun's soothing voice:

"My children, you are human for your sins and God loves you for your humanity. It is your sins that make you beautiful. But this does not necessarily give us license to do whatever we wish. And here I want you to listen carefully. What I am about to say is very important." Regrettably for Cheri and the rest, that's where her imagined screenplay ends. Read more ›

9 of 9 people found the following review helpful

2.0 out of 5 stars Nothing Really Happened October 28, 2008

By Katie B

Format:Hardcover

I wanted so badly to love this book. I feel for the concept and dug in deep for the story. In the end, I felt like I was the one doing most of the work. Charles Bock had talent, but Beautiful Children sputtered as badly as the FBI-Mobile in the story.

Bock made me dizzy. Don't get me wrong, I enjoy multiple points of view and don't mind moments of confusion, but Bock drained me. One page of text in particular jumped into the heads of no less than four characters. It wasn't difficult to follow, but left me disconnected with everyone involved.

The one true sparkle of the novel was Bock's ability to describe the pain and aimlessness of Newell's parents. He got me there, reached me. For that, I believe Bock can deliver the goods with a different story.

I also thought his use of punctuation and sentence structure was puzzling. I realize it's his art and he deserves the freedom to flow without the restraints of accepted style. It didn't bother me, but if that sort of thing bugs you, don't read this book.

In the end, nothing really happened. The characters were interesting, but they didn't do anything. If he had condensed his 432 pages into 150 and then followed with story of interaction and consequence, Bock would have a winner.

50 of 64 people found the following review helpful

1.0 out of 5 stars Our Critics Have Lost Their Minds March 5, 2008

By Tom Badyna

Format:Hardcover

I don't pick up a new book but wanting to say "Five Stars," and wave it about, "Our book, our culture." I'm tired of feeling embarrassed for our newbie writers when compared to their European and South American counterparts. But the best I can say for Beautiful Children is it's a tour de force of puerility. I read it and couldn't but think that Mr. Bock is as absorbed as his characters in the culture of the video games, pornography, comic books and the screaming, screeching music described in this book. To think that a thirty-eight year old man had written this creeped me out, pure and simple. It didn't even read like an act of pedophilic voyeurism, which might be to Mr. Bock's moral credit, though not his literary one. The book has no heart, no vision, no ethos, no esthetic, nothing but a kind of cheap, copped morbidity - the stuff of a puberty stretching on interminably.

If this book were handed to me as a manuscript, I'd hand it back with mild pleasantries like "Okay - you've done the research ad nauseum, shown that you can imagine the second-by-second thoughts of an insipid character moving through a pointless minute of an inconsequential life, now tell a story, and, if it comes to you, toss in maybe one or two redeeming minutes." If I were feeling charitable, I might add, "Just as you seem to confuse dirty underwear for grit and truthtelling, you also confuse bad grammar for literary style."

Mr. Bock, no doubt about it, has an aversion to direct, Anglo-Saxon verbs, which, in this book, are outnumbered by nouns by a thousand to one. Also, and worse, he loads sentence after sentence with strings of descriptive clauses, most of them beginning with a present participle. I counted one stretch where twelve consecutive sentences were of such construction.... It all gives the narrative the urgency of a slow doggie-paddle in a cesspool.

The book says nothing, is little more than faux nihilism sans courage, supported by presumptions of sap.

Our critics, our editors, our agents, have lost their freaking minds. Read more ›