Amazon.com Review
The lives of rich folks dabbling in the New York art scene of the 1980s makes for surprisingly entertaining reading in
When the Sons of Heaven Meet the Daughters of the Earth. Fernanda Eberstadt mines this fertile ground with fierce and funny results. Her cast of characters: Alfred Gebler, a poor boy who made good by marrying an heiress with a passion for the avant-garde; Dolly Gebler, daughter of a Midwestern pharmaceutical mogul who inculcated his favorite child with the view that obscene wealth requires penance--preferably in the form of a non-profit arts foundation; and Isaac Hooker, a young innocent from New Hampshire: painter, Harvard drop-out, former soup-kitchen cook, and part-time framer who enters the Geblers' orbit with unpredictable results.
Half the pleasure of reading Eberstadt's novel is her masterful send-up of the patrons and poseurs who populated New York's overheated art scene during the Reagan-Bush years; the other half is in the unsentimental, yet sympathetic portrayal of her main characters. Frequently funny, always penetrating, When the Sons of Heaven Meet the Daughters of the Earth offers a delightful journey into a world most of us only experience through the pages of glossy magazines.
From Library Journal
In this panoramic portrait of the volatile New York art scene of the 1980s, Eberstadt reprises the hero of her last novel, Isaac and His Devils (LJ 3/15/91). Isaac Hooker, a New Hampshire-born Harvard graduate adrift in the big city, unexpectedly discovers a natural talent for painting. Almost immediately, he is taken under the wing of the Aurora Foundation, an organization that sponsors and promotes emerging artists. The foundation is the brainchild of the immensely wealthy Gebler family, and before long Isaac is deeply entangled in the Geblers' personal lives. Eberstadt uses the figure of the principled country bumpkin as a foil to highlight the excesses and absurdities of the art business and of New York high society. This interesting and well-written blend of art criticism and social commentary presented in a Dallas-style soap-opera format will appeal mainly to readers with some knowledge of the late 20th-century art world. For larger fiction collections.?Edward B. St. John, Loyola Law Sch., Los Angeles
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