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Freedom: A Novel Hardcover – August 31, 2010


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Product Details

  • Hardcover: 576 pages
  • Publisher: Farrar, Straus and Giroux; First Edition edition (August 31, 2010)
  • Language: English
  • ISBN-10: 0374158460
  • ISBN-13: 978-0374158460
  • Product Dimensions: 6.4 x 1.8 x 9.3 inches
  • Shipping Weight: 1.2 pounds (View shipping rates and policies)
  • Average Customer Review: 3.1 out of 5 stars  See all reviews (1,289 customer reviews)
  • Amazon Best Sellers Rank: #42,819 in Books (See Top 100 in Books)

Editorial Reviews

Amazon.com Review

Amazon Best of the Month, August 2010: "The awful thing about life is this:" says Octave to the Marquis in Renoir's Rules of the Game. "Everyone has his reasons." That could be a motto for novelists as well, few more so than Jonathan Franzen, who seems less concerned with creating merely likeable characters than ones who are fully alive, in all their self-justifying complexity. Freedom is his fourth novel, and, yes, his first in nine years since The Corrections. Happy to say, it's very much a match for that great book, a wrenching, funny, and forgiving portrait of a Midwestern family (from St. Paul this time, rather than the fictional St. Jude). Patty and Walter Berglund find each other early: a pretty jock, focused on the court and a little lost off it, and a stolid budding lawyer, besotted with her and almost burdened by his integrity. They make a family and a life together, and, over time, slowly lose track of each other. Their stories align at times with Big Issues--among them mountaintop removal, war profiteering, and rock'n'roll--and in some ways can't be separated from them, but what you remember most are the characters, whom you grow to love the way families often love each other: not for their charm or goodness, but because they have their reasons, and you know them. --Tom Nissley

From Publishers Weekly

Starred Review. Nine years after winning the National Book Award, Franzen's The Corrections consistently appears on "Best of the Decade" lists and continues to enjoy a popularity that borders on the epochal, so much so that the first question facing Franzen's feverishly awaited follow-up is whether it can find its own voice in its predecessor's shadow. In short: yes, it does, and in a big way. Readers will recognize the strains of suburban tragedy afflicting St. Paul, Minn.'s Walter and Patty Berglund, once-gleaming gentrifiers now marred in the eyes of the community by Patty's increasingly erratic war on the right-wing neighbors with whom her eerily independent and sexually precocious teenage son, Joey, is besot, and, later, "greener than Greenpeace" Walter's well-publicized dealings with the coal industry's efforts to demolish a West Virginia mountaintop. The surprise is that the Berglunds' fall is outlined almost entirely in the novel's first 30 pages, freeing Franzen to delve into Patty's affluent East Coast girlhood, her sexual assault at the hands of a well-connected senior, doomed career as a college basketball star, and the long-running love triangle between Patty, Walter, and Walter's best friend, the budding rock star Richard Katz. By 2004, these combustible elements give rise to a host of modern predicaments: Richard, after a brief peak, is now washed up, living in Jersey City, laboring as a deck builder for Tribeca yuppies, and still eyeing Patty. The ever-scheming Joey gets in over his head with psychotically dedicated high school sweetheart and as a sub-subcontractor in the re-building of postinvasion Iraq. Walter's many moral compromises, which have grown to include shady dealings with Bush-Cheney cronies (not to mention the carnal intentions of his assistant, Lalitha), are taxing him to the breaking point. Patty, meanwhile, has descended into a morass of depression and self-loathing, and is considering breast augmentation when not working on her therapist-recommended autobiography. Franzen pits his excavation of the cracks in the nuclear family's facade against a backdrop of all-American faults and fissures, but where the book stands apart is that, no longer content merely to record the breakdown, Franzen tries to account for his often stridently unlikable characters and find where they (and we) went wrong, arriving at--incredibly--genuine hope.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

More About the Author

Jonathan Franzen is the author of three novels--The Corrections, The Twenty-Seventh City, and Strong Motion--and two works of nonfiction, How to Be Alone and The Discomfort Zone, all published by Farrar, Straus and Giroux. He lives in New York City and Santa Cruz, California.

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Customer Reviews

The book was a little bit laborious to read because there is just too much detail into the background of these characters.
C. CAMPBELL-JONES
The ending made me hate this book, not because I didn't 'get it,' but because I just didn't care and really had to force through the last 100 pages.
Parola138
This writing is so beautifully driven by the characters Franzen creates co-mingling with the landscape/time in which they live.
A. C. Wilson

Most Helpful Customer Reviews

3,257 of 3,718 people found the following review helpful By zashibis on September 20, 2010
Format: Hardcover Verified Purchase
Negative reviews get no love on Amazon, but, having been thoroughly taken in by the glowing reviews in the NYT, Time, the Economist, etc., I feel compelled to add a voice of dissent and caution.

I read and enjoyed The Corrections, so was looking forward to seeing what Franzen had been up to for the past 10 years. What he's been up to is, essentially, rewriting The Corrections, but extracting all the humor that leavened the misanthropic bleakness of his vision in the earlier work. Once again we're presented with an outwardly "perfect" nuclear Midwestern family that secretly consists of neurotic hysterics with low self-esteem who ultimately find themselves mired in infidelity and morally dubious business dealings. Once again the focus is on generational conflict, and the "sins of the fathers" revisited in the lives of the children.

Besides the lack of originality, the problem, in essence, is this time out I don't believe a single, solitary word of it. I don't believe in liberal middle-class parents who'd let their teenage son move in with their obnoxious Republican neighbors. I don't believe in a talented college athlete who'd let herself be hoodwinked for years by a ditzy, obsessive fan. I don't believe in a committed environmentalist who'd sign off on strip mining vast tracts of virgin forest in the name of reclaiming those tracts many years afterwards for a single-species preserve. I don't believe in a 19-year-old arms dealer making procurement purchases in Paraguay. I don't believe in a couple who remain married, but utterly incommunicado, for 6 years. I don't believe in a 47-year-old man with no religious convictions who is trying beer for the very first time, and is prone to bursting into tears on the least provocation. And that's just for starters.
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479 of 552 people found the following review helpful By Cary B. Barad on September 6, 2010
Format: Hardcover
Excellent writing when dealing with the painfully intimate and intricate details of adolescence, marriage, childrearing, infidelity and romantic yearnings. In fact, it approaches the true-to-life fictional style used so successfully by Tom Wolfe in the "Bonfire of the Vanities," and "A Man in Full."

Yet, this saga ominously hits a brick wall when it becomes enmeshed with any number of environomental, social and political issues (incluing mining and overpopulation) that seem to go on for far too long and which consume an excessive amount of time and space. Very "preachy", didactic and repetitive if you will.

As a result, we are confronted with a lengthy novel that is only partially rewarding. It is constucted on cycles of excitement and tedium which make for an erratic reading experience. You really have to invest a good deal of time and effort searching for the literary nuggets that make the effort worthwhile in the end.
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851 of 985 people found the following review helpful By BrianB VINE VOICE on August 31, 2010
Format: Kindle Edition
I will avoid the plot review, because so many others seem compelled to summarize, and the repetition becomes tiresome. I enjoyed this novel, and I think you will too. I gave it four stars because it is not perfect, but it is better than most current fiction. Franzen may be a "serious" writer, but he is also highly readable, with an interesting story that can be enjoyed for itself alone, absent any considerations of literary aspirations.

This is a big, rambling tale of modern Americans in their modern lives, people who reminded me of real people, a plot which kept me turning the pages of this compulsively readable, mostly entertaining novel. The tone is slightly condescending, as the quote above my review would suggest, mostly cynical, and ultimately hopeful by the end of the story, when his battered, bruised and bruising characters emerge from the wreckage of their lives, and bravely carry on.

In many ways this novel is similar to his previous work, The Corrections. I remember enjoying that novel a few years back, although I could not understand why the critics raved about it. Franzen proves yet again that he is a very good writer, building a complicated but workable plot, creating characters who are real, complex and often disappointing, showing us his American self-portrait in 2010. He reaches for a big theme, as the title implies, but he doesn't quite achieve his goal of demontrating the illusory nature of our freedom (or alternatively that all this freedom is killing us). Like Sophocles, Franzen seems to take a dim view of freedom. I probably should not compare Franzen to Sophocles, or other great writers, past or present. He has a genuine voice, a straightforward style, but he does not possess lyrical abilities, nor great thematic breadth.
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100 of 115 people found the following review helpful By E. Whalen on September 17, 2010
Format: Hardcover Verified Purchase
I bought this book based on two reviews: New York Magazine's ("it reminds you why everyone got so excited about Franzen in the first place") and The Economist's ("brilliant") combined with the fact that I thought The Corrections was a very good book. The Economist gives out reviews like that about as often as Simon Cowell, so I thought, "even I, who am very picky, am going to like *this* book".

For the first 381 pages, though, the only thing I liked was that I was coming closer to either being finished with this book or to what I thought had to be an incredibly good ending to justify the incredibly good reviews. The characters were immature, lacked perspective and were in many ways unconvincing to me. Walter was obsessed with overpopulation issues but directed most of his anger at the Catholic church for this problem and wanted, it seemed, to discourage people from having any children. We humans, he makes very clear, are a "cancer on the planet". I certainly agree the overpopulation is a problem and only growing in scope, but I had a difficult time believing a 50-year old who had supposedly spent so much time "thinking" about the issue was so unwilling to do what it takes to actually make a difference in solving the problem. Instead of advocating policies that might actually work, such as trying to reduce the number of unplanned pregnancies in the world, he starts a non-profit to try to encourage 19-year-olds (who will certainly *never* change their minds!) to never have children. Perhaps a 30-year old would be convincing in this role, but not a 50-year old. As a result, it seems Franzen is not trying to make a policy argument but rather using the issue to represent Walter's anger with people in general.
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