Customer Reviews

A New Life

5 star:		(3)
4 star:		(6)
3 star:		(1)
2 star:		(0)
1 star:		(1)

 

 

Jonathan Lethem's preface shouldn't be read first but last, as it--albeit subtly--gives away the ending for any reader who makes it to the latter third of the novel. While I did not support the choice made by the protagonist, Sy, at the end, and sympathized more than perhaps I was supposed to with the antagonist, I found this evocation of the Cold War period as spent at a cow college in a small town in the Northwest gripping and surprisingly convincing in its indirect narrative style, which mimics not only the patterns of thinking in Sy's mind, but springs off at times into Joycean reverie.

I have only read Malamud's The Assistant, and that in college, so my pleasure at his plot became all the more pronounced when I found so much of the setting alarmingly familiar--I teach English too at a non-liberal arts college, run by number-crunching techies, so Sy's predicaments--although now I doubt if he could land his position without a PhD--stayed fresh despite happening half-a-century ago.

Issues of academic freedom, nourishing of the soul, escape into nature and ideals vs. the mundane may be new material for those used to Malamud's urban explorations of often NY and Jewish characters, but here it all works. I was mildly intrigued that Sy's Jewishness never gains but one mention, near the end of the novel, but is assumed, I suppose, throughout as he is marked by his beard and his "East Coast" origins as an outsider all the time. The near-absence of religion and the substitution of a longing for nature, perhaps a Wordsworthian sort of wonder, permeates much of the lyrical passages interspersed with the more tormented episodes--which gain as the book lengthens.

The book has a bit of slapstick and a lot of farce in the predicaments Sy gets himself into, but I can testify that much of Malamud's take on such an institution remains relevant today, in a much more constrained academic job market for such profs-to-be. Again, a measure of the skill Malamud brings is both the detachment the third-person p-o-v offers of Sy (who never leaves our sight) and the engagement with the other characters we see through his jaundiced eyes, and the fact, as I stated, that your sympathies may not be fully with Sy by the book's close.

Bernard Malamud is known for creating deeply flawed characters with strong ideals, and Seymour Levin - known interchangeably as S, Sy, Seymour, Levin and Lev - the central character in this wonderful novel, is no exception. A thirty year old masters graduate, down on his luck, but with the backing of an NYU education, he lands a job as a college instructor in the English department of a fictional mid-western state (Cascadia) college. This opens up an interesting cast of characters who view him with a mix of interest, disinterest, partly an inferior, an activist/idealist (his beard suggests he is a radical in the year 1950 in the midst of red-baiting and community suspicion), a potential threat, an alien, an anomaly.

Levin, "formerly a drunkard" (to quote the author) has deep seated problems and issues of self worth. He is a plain man, though definitely an idealist; however, one gets the sense early on that his idealism comes less from a passionate, inward set of convictions and more from a sense of inferiority, and a desire to find meaning in ideas. His activities and how quickly he reacts to the new environment are fascinating - he wastes no time getting inappropriately involved with a female student, sleeping with the wife of a trusting colleague or getting embroiled in the politics of the English department (here Malamud provides an interesting look at a college in a conservative town that values professional training at the expense of literature and learning) and being drawn into a myriad of ethical and moral dilemmas. Without spoiling the plot any further, Levin breaks every conventional rule in the book - this makes him less a sympathetic character and more someone the reader is almost glad to see suffer the fate he does. I would not have felt this way if I got the sense that Levin was fighting for something and doing it sensibly - while I love literature, the way Levin goes about seeking its elevation seems foolish and misguided. Perhaps more about ego and an attempt to feel worthy than out of a true love of books.

This is in essence something of a morality tale, and if I had to get to the heart of what Malamud is saying here it would have to be that misplaced idealism - without moral or ethical standards - will destroy the person within. I found it to be both gripping and bleak at the same time, but surely one of my favorite Malamud novels (and I have now read them all, so will have to find a new author to stalk!).

It seems that from the sparseness of the reviews here and from the seeming lack of recognition this book has received, it is one of his least known works. That is a shame because the characters and plot are fascinating; the themes are timeless (suspicion of someone who looks different, moral bankruptcy, clash of conservatism and radicalism, status quo versus change) and the writing is very good.

I first read this book in college - I found it in the stacks in our library and chose it as a recreational read. Needless to say, it has become one of the most memorable novels I have ever come across; so much so that I bought the book to read again last month. Malamud's talent lies in his effectual portrayal of true to life characters and situations: S. Levin has a history of making the wrong choices, struggles to do what his conscience tell him is the correct path in life and battles to maintain his personal dignity -- all while living in a new state without emotional support. The administrative tug of war that defines his experience as instructor at a small state college are realistic and well portrayed - but also, they are written with a good deal of wit, making this quite the enjoyable read. I recommend it without any reservation!

'A New Life' by Bernard Malamud is the fifth novel I've read by him and with each book I am further convinced of his genious. He was a master at the novel (not just short story). Though his works are funny they are also deeply humane and, from a literary standpoint, subtle. I can't think of anything more difficult in writing than subtlety. Time and again, while reading this book I'd have to pause and reread a line or paragraph because of his subtle and miraculous use of language. The main character, Levin, is somewhat of a comic hero, but there is deep truth in him. His life is regret and he wonders when he will actually begin living. Already thirty, an outcast from the east in a northwestern college town, Levin's new chapter of life is on vivid, often comic and sad display for the reader. Another masterpiece!

Malamud's book is the story of a man who moves across the country to try a new life as a college instructor. As a college instructor myself, the politics he deals with rang true. I was mainly impressed, however, with the thoughts inside this characters head. I often read novels in which I come across something and think "No man I know would ever think this", but I never felt that way here. I didn't like the ending (I thought the character made a bad choice) but Malamud is under no contract to clear his endings with me first. A good solid read.

Malamud has written an entertaining novel about the attempt by the "hero" Levin to begin life anew in Cascadia (Oregon) in the 1950's, an era it is hard to imagine interesting - but it is here! And the end creates its own questions about new beginnings, love, the meaning of life, and all sorts of serious subjects, without ever feeling weighed down by them.

>A New Life< is great writing! A thoughtful, intriguing romance:
page 237: Once she drew back back a lock of hair . . . and revealed an ear pinned like a jewel to her head . . . . Lord, thought Levin, how beautiful women are, and how hungry my heart is.
page 202: Pauline rubbed her wet eyes against his shoulder. "I sensed it. I knew who you were."
"I felt a new identity."
"You became Levin with a beard."
page 216: Love? Levin eventually sighed. Is it love or insufficient exercise?
. . . Consider once more her lank frame, comic big tootsies, nose flying, chest bereft of female flowers . . . . He wanted no tying down with ropes . . . (he) had to have room so he could fruitfully use freedom. If ecstasied out of his senses, he let down his guard . . . Lord help Levin!

In an enigmatic forward, Malamud quotes from >Ulysses< by James Joyce, "Lo, Levin leaping lightens . . ."
Come experience Levin's amazing journey!

Rereading this book after many years was at first a great pleasure. How wonderful to go into the innocent world of a small- town university in the 1950's. The protagonist Levin is a New Yorker who goes West to Cascadia College to find a new world and life. He comes to what he thought would be a liberal- arts college and is in fact a kind of community -vocational college. Nonetheless he wonders at the remarkable outdoor world, and also at a whole group of faculty- characters he meets.
So far, so good. But innocent Levin turns out to be a less than admirable character, and the second part of the book centers on his love- affair with the wife of the faculty member who has greeted him and been most kind to him.
This affair does not lead to any kind of redemptive moral message of a kind Malamud's writing often has. It rather I think reflects an ethic of the 'do your own thing' and 'me first' sixties about to come. Sexual liberation cancels out consideration of others.
Perhaps I am a bit unfair to this novel which I started out enjoying and enjoyed less as it progressed. Malamud does do an excellent job of creating the university types and atmosphere, and does show meticulous attention to the kinds of minor disputes and pettinesses which plague faculty life.
He also writes in a clean and precise way, and there is an air of freshness, and youthful adventure at least in the first chapters of the work.
This is not the Malamud which the world will love him most for. The main character by the way is only nominally Jewish, and Jewishness plays no part whoseover in the story. This again is far from what one ordinarily thinks of one when one thinks of the work of Malamud.

Sy moves away from a disintegrating life in NY to rebuild and recreate himself in the mid west. But like the scorpion in the fable;he just can't help being who he is! Malamud seemed to move into this area of exploration with more contemporary characters in his latter books-this is broadly similar to 'Dubins Lives'-where are lives are influenced by our natures and the moment in history we exist in,yet we continually try to satisfy the falsehoods of society,or other peoples expectations.
This is a good,satisfying read.Malamuds prose of even mundane surroundings leave a vivid picture in your mind,and there are great pieces of humour: ("We're going to do it on the desk?" "I hated to mention the floor,but where else is there!")
I love Malamuds work for many reasons.Yes this is a lot 'softer' than 'The Fixer' or the life of poor old Fiedelman,but it gives another insight to Malamuds take on life.
He's also a member of the 'Holy Trinity' of great 20th century Jewish writers;sitting alongside Beshevis Singer and Saul Bellow, in my view.

I am a long-time admirer of Malamud. In my view, "The Assistant" and "The Natural" are two of the outstanding novels of the 20th Century. I can still recall my gratification upon finishing "The Magic Barrel."

In the case of first-time exposure to a book,play,or movie, I believe that expectation frequently colors reaction. Given my experience with Malamud, I began to read "A New Life: with a sanguine attitude. The first page, carefully calculated to entice the reader's interest, validated this attitude. Although my enthusiasm waned over the next 20 or 30 pages, I reminded myself of Malamud's literary prowess. He's just having a little trouble revving up the engine, I thought. Happens to the best of them. My man will get off the ground shortly and we'll be soaring into the clouds.

Malamud's early take on Levin bolstered my confidence. Levin is an unsuccessful teacher, a former drunk, a tactless, gauche klutz whose professional and intellectual capacity and social skills are, to say the least, limited. The reader will identify with Levin, or root for him, or feel sorry for him, or simply connect with him, however attenuated the connection, WHEN LEVIN CHANGES. And so, the reader looks forward to finding out what manner of event, what shift in circumstance, will rehabilitate Levin, or trigger his turnabout, or spark his transformation, or signal some incipient but viable adjustment of his personality and character. Or perhaps will reveal some redeeming quality, some suppressed side of Levin that is rational, perceptive, sensitive, sensible.

It doesn't happen. Levin's self-destructive behavior accelerates, and the book plunges irreversibly into contrived farce and fatuous set-scenes devoid of credibility. Contrary to Mr. Lethem's Introduction, the book is neither comic nor tragic; it is simply hollow in its core.

To revisit the credibility issue, Levin's attempts to insert himself into and influence campus politics are so maladroit as to be unbelievable. His relationship with Pauline is self-delusional and empty-headed, and is not plausible. The ultimate implausibility, of course, is the last segment.

The book does contain well written descriptions of scenes from nature. But why so many? Some of the dialogue is clever in a stilted way. College-faculty environments are unquestionably as vicious as reflected, but surely the real-life intrigues are not conducted on the level of ineptitude depicted here. Beyond those small plus-factors, the book fails in terms of plot, narrative, and character development. Like Levin, "A New Life" is a loser. Come to think of it, Malamud's purpose may have been to write the book as a metaphor for stupidity.