Most Helpful Customer Reviews
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33 of 35 people found the following review helpful:
4.0 out of 5 stars
All messed up, July 4, 2005
"Here you go again. All messed up and no place to go."
That line sets the tone for "Bright Lights, Big City." Jay McInerney's bestselling debut stands above other urban-angst novels of the time, which tended to go with shock value. Instead, McInerney experimented with second-person narratives and a vision of a fragmented, coke-dusted New York.
"You" are a young man living in New York, and wife Amanda has recently left you for a French photographer she met on a modelling shoot. Understandably you are depressed and unhappy, and the loss of Amanda haunts your moods, especially when her lawyer urges you to sue her for "sexual abandonment," even though you don't want a divorce.
By day, you work in the fact-checking department of a prestigious magazine, where your malignant boss is getting tired of you. By night, you halfheartedly prowl clubs with your pal Tad, doing drugs and meeting women you care nothing for. Will you be able to move past your problems and become happy again?
Consider that summary a little slice of what "Bright Lights, Big City" sounds like -- the reader is the main character, which allows the reader to slip into another's skin for a brief time. Second-person narratives are often annoying, but McInerney's style is so starkly compelling that the little narrative trick pays off.
The New York of "Bright Lights, Big City" is basically a big, glitzy, hollow place, but still strangely appealing. And McInerney adds splinters of reality here and there, like the tattooed girl and Coma Baby, which add to the gritty you-are-there feel of the novel itself. His dark sense of humour comes out in "your" thoughts: "your" boss resembles "one of those ageless disciplinarians who believe that little boys are evil and little girls frivolous, that an idle mind is the devil's playground."
And while many trendy novels of the time relied on shock value and obnoxious characters, McInerney keeps it low-key. The young man is likable and sympathetic, despite his tendency towards self-pity. And the people around him -- the self-absorbed Amanda, likable Tad and nasty "Clingwrap" -- seem surprisingly realistic, as well as the minor people who flit in and out of our hero's vision.
"Bright Lights, Big City" has gained a reputation as a trendy urban novel of the 1980s. Too bad. Though the trendiness has worn off, McInerney's style and story are still worth reading.
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82 of 97 people found the following review helpful:
5.0 out of 5 stars
one of the few significant social fictions of the 80s, October 13, 2000
Bright lights, big city...Where skin-deep is the mode, your traditional domestic values are not going to take root and flourish. -Jay McInerney It seems hard to account for the visceral loathing that Jay McInerney provoked in critics after publishing this best-selling first novel. Here's a typical comment from Weekly Wire: Hot young actor Ethan Hawke's first novel, The Hottest State, is mostly reminiscent of what used to pass for literary writing in the 1980s: a first person narrative of a vapid young man living in New York City, told without allusion, metaphor or self-reference. Essentially, the kind of airport-novel-taken-as-art for which Jay McInerney and Brett Easton Ellis were once praised, and then later reviled. Bad enough to be hammered like that, but to be lumped with the truly awful Bret Easton Ellis? Ouch! Perhaps it was simply the jealousy that authors always seem to feel towards successful fellow writers. Perhaps it was a generational thing; who was this punk kid to replace Hemingway's wine drenched Paris with a coke sprinkled New York? And, of course, his own generation was hardly going to defend an author who told them that they were all shallow and wasting their lives. Whatever the cause, the literary establishment has been so aggressively dismissive of him and this novel that liking it feels almost like a guilty pleasure. But I do like it very much. The book is unusual in that it is written in the second person, which, combined with the tone, makes the whole thing read, appropriately, like an admonishment. It opens in a Manhattan night spot with the line: "You are not the kind of guy who would be at a place like this at this time of the morning." But, of course, that is exactly the type of person that the nameless protagonist of the novel has become, hopping from night club to night club, looking for cocaine and women, with "no goal higher than pursuit of pleasure." He alternately avoids and seeks out his friend Tad Allagash (Tad calls the hero Coach, so we will too) because Tad represents the worst of his own personal tendencies, but is also a ready source of drugs. Coach is well on his way to blowing his job at a magazine that is a hilarious put on of the The New Yorker, with burned out writers haunting the hallways. Eventually he is fired after turning in an error filled piece on France that he was supposed to be fact checking. We also discover that his wife Amanda has recently abandoned him to pursue her modeling career. Coach has taken to wandering by a department store window that has a dress dummy modeled after her. Over the course of several days of avoiding responsibilities and the brother who is trying to contact him, abusing coke & booze at every waking moment, the remainder of Coach's life collapses around him. McInerney's portrait of these young New Yorkers is truly devastating; they are all surface with no depth. Coach remains friendly with Tad because: Just now you want to stay at the surface of things, and Tad is a figure skater who never considers the sharks under the ice. You have friends who actually care about you and speak the language of the inner self. You have avoided them of late. Your soul is as disheveled as your apartment, and until you clean up a little you don't want to invite anyone inside. Coach had doubts about marrying Amanda because: You did not feel that you could open quite all of your depths to her, or fathom hers, and sometimes you feared she didn't have any depths. Meanwhile, he finds himself asking, "when did she become a mannequin?", because she is little different than her fiberglass doppelganger in the store display. When he meets her in a nightclub at the end of the novel, she is with an impossibly handsome young man who she claims is her fiancé, but he turns out to be an escort. The woman Coach is dancing with that night turns out to be transsexual. Noone is real, like the neon lighting in which their lives unfold everything is artificial; at best they are playing roles, at worst they are truly empty at the core (they have become the "Men without Chests" that C.S. Lewis warned of). Coach himself frames the episodes in his life as chapters from a novel, complete with titles. It's as if he is incapable of handling reality and must make a fiction of his own life, must turn himself into a literary construct. Finally, as he hits bottom, Coach begins to rebound. His brother catches up to him and they discuss the loss of their Mother, who sickened and died a year earlier. Coach is, at last, able to confront his own sense of loss. He calls an old girlfriend and tells her: "I was just thinking that we have a responsibility to the dead--the living, I mean." The novel ends with him down at the docks, trading his sunglasses for some fresh baked bread. Hard to avoid pedantry here, but the bread pretty obviously represents the Staff of Life, the values of the heartland and the pleasures of hearth and home, as well as a means of resurrection--in the most fundamental sense, he is taking communion. Coach's decision to abandon the bright lights (he won't need the sunglasses anymore) and turn back towards the basics is a triumphal moment in modern fiction. In an era when "white bread" has become pejorative, an author who has his hero saved by a bread roll is obviously trying to communicate something. It would be a shame if those same shallow folk whom the book is aimed at were to succeed in dismissing it as no more than a "drug book". It is a really fine novel and one of the few significant social fictions, along with Bonfire of the Vanities and Love Always (Ann Beattie), to emerge from the 80's. GRADE: A
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8 of 9 people found the following review helpful:
5.0 out of 5 stars
Underrated Classic!, July 29, 2003
By A Customer
"Bright Lights, Big City" is a short book and reads very quickly. I think this is one of the reasons many critics feel justified in dismissing it. You can read this novel in an afternoon, and perhaps BLBC's digestibility works against it; critics tend to take this slim, sometimes breezy work far too lightly. I am often mystified at the sneering dismissals. What is the objection, exactly? The sophistication of BLBC's prose is something that is hard to argue with: there are lovely sentences and phrases on every page, and the wit is finely modulated, often tempered with a note of scarcely-contained despair. The protagonist is in such spiritual agony that the jokes are never merely flippant; it hurts to laugh when someone is this far down, although laughter is necessary to leaven the starkness of the situation. Maybe some people were turned off by McInerney's use of the second person. When the character is "you," the reader is inevitably going to be aware of a certain friction between their own values/character and the narrator's. What saves BLBC's second-person voice from gimmickry is that the story is universal; we have all, at some point, been at the cusp of a far-reaching disaster, when every moment feels like borrowed time and we live in the dead-zone interstices between day and night. The situation is identifiable; ergo, the second-person is not only seamless -- it is insidious, conspiratorial. Yes, McInerney made a risky choice, but he sustains the "you" conceit very skillfully. What makes BLBC so successful is that it eschews self-indulgence, easy satire, obsessive autobiography. In short, it avoids the usual flaws of the first novel. Instead, it is characterized by modesty and generosity. Generosity is particularly needed by the protagonist, a cocaine-addicted fringe player on New York's literary scene. His life is on the verge of total catastrophe, and he has adopted a fatalistic attitude toward his inevitable unraveling: he doesn't have the energy to try to stop himself from falling. What results is a lost weekend that begins in puerile self-gratification and ends on a note of hope. McInerney doesn't treat his emasculated yuppie with contempt, which is the first instinct with second-rate novelists, filmmakers etc. Instead, he takes the courageous route: he looks at his protagonist's life as a symptom of a wider affliction and indicates a path out of the wilderness. BLBC isn't perfect -- the last twenty or thirty pages turn on a rather unconvincing revelation. McInerney seems to feel the need to give us a single explanation why his protagonist's life is in such disarray. But the "explanation" for the narrator's downfall was already implicit and entirely convincing; you could imagine yourself coming to the same pass given similar circumstances: good money, wilting ideals, a bad marriage, and a steady decline in ambition and prospects. The revelation, which I won't give away, weakened the book significantly, but not enough to make it any less than a minor classic. "Bright Lights, Big City" is an original, compassionate and wickedly funny riff on a decade that deserves to be re-examined, reviled, but never, never relived. Also recommended: THE LOSERS' CLUB by Richard Perez
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