From Publishers Weekly
; The Revisionist
) doesn't disappoint with this narrative spanning 24 terrible hours in the life of the Falktopf family on a certain September day. Husband and wife Gerhard and Suzannah, somewhat mismatched, struggle to come to terms with each other, the turns their lives have begun to take and their artsy downtown Manhattan existence. Suzannah is a 36-year-old former dancer turned stay-at-home mother of autistic son Nikolai, while choreographer Gerhard is autodidactic, worldly, anal retentive and unaffectionate, and has just been notified by his dance company's board that he is to be replaced by someone "committed to the spirit of the early Gerhard Falktopf" and that the company is trying to usurp his works, including his crowning achievement, yet-to-be-premiered A Day at the Beach
. The Falktopfs watch (separately: Suzannah from their apartment, Gerhard from a nearby bank) in horror as the towers burn and collapse before fleeing to East Hampton. There, Gerhard and Suzannah navigate their troubled marriage and a few moral predicaments brought on by chance meetings with long-lost friends. Schulman's novel succeeds as a haunting, poignant remembrance. (June)
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On September 11, 2001, the fifty-five-year-old German choreographer Gerhard Falktopf is doing the same thing hes been doing for weekspacing about his Village loft and ranting about the loss of his dance companywhile his former muse, Suzannah, frets about their son Nikolais first day at school. But when Nikolai looks out the window and observes that "the birdies are on fire," Gerhard shakes off his sense of paralysis, plunders his bank account, and loads assorted dependents into the companys Mercedes S.U.V., bound for the Hamptons. As it turns out, his family would have been safer if theyd stayed home. Schulman, in her fourth novel, gets both her cultural moment and the psychological particulars of a disintegrating marriage exactly right, and her writing is distractingly, almost brazenly beautiful. The result slyly demonstrates both the inadequacy of art and its insolent resilience in disasters aftermath.
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