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A Naked Singularity: A Novel Paperback – April 19, 2012
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A Naked Singularity tells the story of Casi, a child of Colombian immigrants who lives in Brooklyn and works in Manhattan as a public defender--one who, tellingly has never lost a trial. Never. In the book, we watch what happens when his sense of justice and even his sense of self begin to crack--and how his world then slowly devolves. It’s a huge, ambitious novel clearly in the vein of DeLillo, Foster Wallace, Pynchon, and even Melville, and it's told in a distinct, frequently hilarious voice, with a striking human empathy at its center. Its panoramic reach takes readers through crime and courts, immigrant families and urban blight, media savagery and media satire, scatology and boxing, and even a breathless heist worthy of any crime novel. If InfiniteJest stuck a pin in the map of mid-90s culture and drew our trajectory from there, A Naked Singularity does the same for the feeling of surfeit, brokenness, and exhaustion that permeates our civic and cultural life today. In the opening sentence of William Gaddis’s A Frolic of His Own, a character sneers, "Justice? You get justice in the next world. In this world, you get the law." A Naked Singularity reveals the extent of that gap, and lands firmly on the side of those who are forever getting the law.
- Print length678 pages
- LanguageEnglish
- PublisherUniversity of Chicago Press
- Publication dateApril 19, 2012
- Dimensions1.5 x 6.25 x 9.25 inches
- ISBN-100226141799
- ISBN-13978-0226141794
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Review
Winner of the PEN/Robert W. Bingham Prize for Best Debut Novel of 2012 ― PEN
"A Naked Singularity is not about physics. It's about the American criminal justice system in a large and chaotic city, a place slowly crushed by hopelessness in the same way that an ancient star is gradually crushed by gravity. . . . The novel is a densely packed and offhandedly poetic 678 pages. . . . It is about a city that teeters on the edge of total collapse and complete disaster, but that has the capacity to right itself (whew!) at the last possible second. . . . The novel is a cross between Moby-Dick and Police Academy. Between Descartes and Disneyland. Between Henry James and Henry Winkler." -- Julia Keller ― Chicago Tribune
"Mesmerising." ― Times of London
"This book is ambitious. It's 678 octavo pages--about 13,000 tweets. It's the sort of book you write if you're not sure anyone will ever let you write another one. . . . Even while the lives it describes are often bleak, the book is funny, consistently so. . . . The heist is discussed so exhaustively that when it finally transpires it's thrilling. Casi's defendants, all messes, are lovely and authentic. I could have done with a whole book about them, or rather I enjoyed the whole book about them I read in the middle of this much larger book about other things. A story of a death penalty case begins drenched in irony and grows ever more serious. . . . It's a fine thing for an author to bring forth something so unapologetically maximalist."
"Casi's voice is the combination of brashness and world-weary humanity you'd find in a cynic who'd been scratched to reveal the disappointed idealist beneath. . . . The whole feels like The Recognitions as legal thriller, a glorious mess with dashes of Powers, minor Pynchon, and White Noise, among many others. . . . [I]n its ambitions and shortcomings and shaggy glory, A Naked Singularity is perhaps most reminiscent of The Broom of the System. So that bodes well." -- Tim Feeney ― Review of Contemporary Fiction
"One of the best and most original novels of the decade. . . . It's one of those fantastic, big, messy books like Darconville's Cat or Infinite Jest or Women and Men, though it's not really like any of those books or those writers. . . . . But see here: I refuse to divulge too much of the plot, because watching it unfold is one of the great joys of the novel. . . . . What I keep coming back to is the audacity of this novel, which is truly a towering, impressive work--De La Pava's not hesitant to break and then mirror the narrative with the story of professional boxer Wilfred Benitez, or insert a recipe, none of which hinder the narrative but rather shape the entirety of the book, making the actual story and its effect on the characters (and the characters' actions that shape the story, et cetera) more profound. . . . If you like The Wire, if you like rewarding, difficult fiction, if you like literary, high-quality artistic and hilarious yet moving novels that are difficult to put down, I can’t recommend A Naked Singularity enough."
-- Scott Bryan Wilson ― The Quarterly Conversation"A Naked Singularity looks like an unreadable brick, bloated at 700 pages and likely dense with esoterica. Instead it is a fine encyclopedic romp in the Joyce/Pynchon/Wallace tradition, one with an effortless flow and arresting setting: the American judicial system as vortical funhouse." -- Miles Klee ― The Notes
"Weird, brilliant." -- Steve Donoghue ― The National
"The manic prose fights viciously against an ultimate collapse of good into evil--but not only is there no escape; there was never any such thing." -- Miles Klee ― Flavorwire
"A work of amazing breadth and humor. . . . Challenging, addictively entertaining and not to be missed, A Naked Singularity heralds the arrival of a tremendous talent." ― Shelf Awareness
"I strongly encourage you to overcome whatever hesitation the phrase 700-page self-published novel may inspire in you and pick it up. It is a beautiful monster of a book, a novel that left this reviewer, at least, feeling like maybe there's some point in reading novels--and writing them--after all." -- Paul La Farge ― Barnes and Noble Review
"It's staggering to think this novel is De La Pava's major publishing launch: A Naked Singularity is considerably better than most debuts and has unquestionably rendered De La Pava an author to watch." ― About.com
"'Buzz' is a dirty word in reviewing circles, being a close cousin to 'hype' and often having the same air about it of ad copy generated by publicity departments. It's the kind of word that should put you immediately on guard: Just where is this buzz coming from? Who is doing the buzzing? That said, sometimes buzz can be a good thing. Sergio De La Pava's A Naked Singularity is a case in point. . . . A Naked Singularity is . . . a great American novel: large, ambitious, and full of talk. . . . We can be thankful that this time the buzz did its work."
"When I started reading A Naked Singularity, after a page or two I realized I was going to love it--and I did--but why? I've never sat down to analyze what it is that makes me read a book voraciously from cover to cover, fretting when I have to put it down and longing through the day to get back to it. I like, admire, appreciate a whole range of books and am happy to devote my time and attention to them, but the ones that take me over are rarer. . . . Casi's voice is astonishing, cynical but compassionate, alive to the ridiculous and the pitiful and the horrific but never losing its commitment to morality."
-- Lian Hearn, author of Tales of the OtoriA Philadelphia City Paper Book of the Year
"Exuberant, hyperverbal . . . a minor masterpiece of humor, paranoia, and even flashy technique."
― Philadelphia City Paper"Sergio De La Pava brings linguistic energy and grim hilarity to this furious novel about the dysfunctional criminal-justice system. His novel evokes such maximalist masterpieces of the 1970s as Robert Coover's Public Burning and William Gaddis's J R--he has Coover's rage and Gaddis's ear--yet also grapples with current issues hot off the AP wire. Socially engaged, formally inventive, and intellectually challenging, A Naked Singularity is a remarkable performance." -- Steven Moore
"One of the best books of 2012." ― Houston Chronicle
About the Author
Sergio De La Pava is a writer who does not live in Brooklyn.
Excerpt. © Reprinted by permission. All rights reserved.
[bod-y (bŏd ́ē) n., pl.—ies. 9. CJS. Inarguably odious term used by N.Y.C. Department of Correction and other court personnel to denote incarcerated criminal defendants: There are three hundred bodies in the system so we should be busy. He’s bringing the next batch of bodies down now, I’ll let you know if your guy’s one of them.]
And this was before anything even remotely insane had happened when I still occasionally thought about things like how it was that people were reduced to bodies, meaning the process. How you needed cops to do it and how their master, The System, needed to be constantly fed former people in order to properly function so that in a year typical to the city where the following took place about half a million bodies were forcibly conscripted. And if you learn only one thing from the ensuing maybe let it be this: the police were not merely interested observers who occasionally witnessed criminality and were then basically compelled to make an arrest, rather the police had the special ability to in effect create Crime by making an arrest almost whenever they wished, so widespread was wrongdoing. Consequently, the decision on who would become a body was often affected by overlooked factors like the candidate’s degree of humility, the neighborhood it lived in, and most often the relevant officers’ need for overtime.
None of which tells you the exact process by which someone, let’s say You, becomes a body, which account I sort of impliedly semi-promised, so imagine you are on the street, then in an incident, then a stranger’s hand is on your melon making sure it doesn’t bang the half-blue/half-white American-only car with the colorful bar across the top. Imagine that, easy if you try. Now the police have twenty-four hours to get you in front of a judge for your criminal court arraignment but if you’re the perceptive sort you will monitor Time’s ceaseless consumption of this period yet rightly detect no corresponding increase in ambient urgency.
Your first stop is the appropriate precinct where the arresting officer or A/O stands you before another cop known as the Desk Sergeant. He tells him the tale of your alleged sin and the two, speaker and audience, join their heads to decide what section(s) of the New York Penal Law to charge you with. Now you’ve been informally charged and with that out of the way you may be asked to remove all your clothes (the propriety of this being debated at the time) and kindly spread open your ass. This strip search is one of several ways that additional charges can still arise so while you may have been arrested for a triviality like displaying an open bottle of Heineken to the public—a prosecution normally conducted in a decidedly minor key and resolved right at arraignments—your glove-clad searcher may now discover what you most sought to conceal, that you are currently holding one of the area’s surfeit of readily-available-yet-technically-illicit anesthetics in amounts ranging anywhere from the ghostly residue of celebrations past to multiple powder bricks and in locations as presumably inviolable as within your underwear or even up your ass or maybe you possess one of the other less popular forms of the all-inclusive law enforcement term contraband. In that way can minor breaches be converted into major faults and this happens often, not occasionally. The police know this and are therefore unlikely to ignore even nonsense like the above Consumption of Alcohol in a Public Place (AC §10.125). People like you know this as well yet permit it to alter their conduct not in the slightest, ensuring in the process that the number of bodies will always remain fairly constant.
Another way you have to be careful not to pick up more charges is by resisting capture, even if only verbally, because such conduct can incite some of your lesser blue pacifists into a bit of retributory violence, with said violence then necessitating that you be charged with Resisting Arrest (PL §205.30) if only by way of explaining your injuries; which injuries better be minor lest they result in the added felony charge of Assault in the Second Degree (PL §120.05[3]), a more extensive explanation whereby a misdemeanor assault becomes a felony one by virtue of involving a police officer.
Still at the precinct, you are printed, each of your fingers rolled in black ink then onto vestal white paper. The resulting bar code is sent to Albany for the purpose of producing a rap sheet, an accordiony collection of onion paper that means everything where you are. It means everything because sentencing like Physics and other sciences builds on what came before so that the worse your past was, the worse your present will be, and no sane person doubts the rap sheet’s depiction of the past since it’s based on unalterable fingerprints and not relative ephemera like names or social security numbers. I say no sane person because when once confronted by an individual who steadfastly claimed not to recall in the slightest what I deemed to be a highly memorable conviction on his sheet and one that substantially increased his exposure, I asked him if he planned to launch a Lockean defense whereby he could not be held responsible for something he didn’t remember as such act was not properly attributable to his personal identity at which point he gave me the blankest of stares in response then started saying increasingly odd things in rapid succession until I realized that he not only sort of knew what I was talking about, which was weird enough, but that he was undeniably insane and my ill-advised Locke reference was like the thing coming after the final straw to tip him over the Axis-II-Cluster-A edge, as it were, so that I thenceforth stopped doing things like that.
Now there’s all this paperwork the A/O has to fill out and he’ll stick you in the precinct’s cell while he fills. But first, if the case has any seriousness whatsoever, he and his friends want to accumulate evidence against you and since the best evidence is quite often the very words you emit, they mostly want you to make a statement, and trust me when I tell you that by the time they’re through with you you’ll probably want you to make a statement as well. Because while the police operated under something called the forty-eight hour rule which stated that an officer charged with any kind of official misconduct cannot be questioned about it for forty-eight hours—giving him time to, among other things, retain a criminal defense attorney—you are currently operating under a different forty-eight hour rule. This one says the police can harass, intimidate, lie, cheat, steal, cajole, make false promises, and delay your arraignment (where you would be assigned an attorney who would most assuredly not allow you to speak to the police) for forty-eight hours if that’s what it takes to extract your statement. And it is following all that, not at the very instant you’re arrested as mass entertainment would have you believe, that they will advise you of your Miranda rights so your ensuing statement will be admissible.
And this is as good a time as any for you, gentle reader, to learn that I can wander a bit while storytelling so that the very imminent digressive passage on the judicial creation of Miranda warnings can be entirely skipped by the uncurious without the slightest loss of narrative steam.
Digression begins. So Ernesto Miranda is the Miranda of the warnings and the same year a famous shooter(s) would later scatter John Fitzgerald all over Jackie he was twenty-three and creating smaller-scale mayhem. A high school dropout with the mental development of an eighth-grader, Miranda had already served one year on an attempted rape conviction. In a perpendicular universe, an eighteen-year-old Phoenix girl who I’m Digression begins. So Ernesto Miranda is the Miranda of the warnings and the same year a famous shooter(s) would later scatter John Fitzgerald all over Jackie he was twenty-three and creating smaller-scale mayhem. A high school dropout with the mental development of an eighth-grader, Miranda had already served one year on an attempted rape conviction. In a perpendicular universe, an eighteen-year-old Phoenix girl who I’m going to say strove to dress like the glossy girls she saw in magazines and to listen to the same records as her more desirable classmates indisputably acted as attendant to some movie theater’s candy counter, the true home of such an operation’s profits incidentally. She sold synthetic butter and liquid Real Things and when done tried to go home. Enter Miranda who interrupted her trip home. He grabbed her, dragged her into his car, and drove her out into the Red, Brown, and Purple of the Painted Desert where he raped her.
Fast forward one week when the girl briefly saw what she thought was the car driven by her assailant, a 1953 Packard. She reported this belief to the police, telling them the license plate of the car was DFL312. That plate turned out to be registered to an Oldsmobile but the police discovered that DFL317 was registered to a Packard—a Packard owned by Twila N. Hoffman, Ernesto Miranda’s girlfriend. Off to 2525 West Mariposa (Oeste Butterfly) Street where Miranda was found to fit the description given by the girl. He was arrested and placed in a line-up. The girl said he most resembled the rapist but failed to make an unequivocally positive identification.
Detectives took Miranda into Interrogation Room Two where he was told he had been identified as the rapist and asked if he wanted to make a statement. He did, a signed written confession that took two hours to elicit following his initial denial of guilt and that included a section saying he understood his rights. Miranda was charged and assigned an attorney. The attorney, Alvin Moore, had plenty on his neck, however, and for a well-spent $100 he objected that the confession had been illegally obtained because no one told Ernesto, prior to his statement, that he had the right to an attorney. The trial judge said no way to that and after the jury consequently heard the confession, and was surely impressed by it, he got to prescribe twenty to thirty years in special housing as a remedy. Ernesto wondered if he could appeal and he could.
The ACLU grabbed the case and 976 days later they were in front of the court that never gets overruled with John Flynn saying, and this is a direct quote (no it isn’t): “look dudes, and I refer to you thusly because this is way pre-O’Connor/Ginsberg, your Fifth Amendment deal is only protecting the rich and powerful: those who are brainy enough to know what their rights are or who have the dough to rent a lawyer.” The Warren Supremes actually agreed and, in the kind of decision that makes maybe five people happy, held that before future police could torment some illiterate sap who nobody cares about into confessing his sins, real or imagined, they would have to inform him of certain rights not covered in your average eighth-grade Social Studies class. As is customary in these all-too-rare instances, Miranda’s conviction was reversed and his case set down for retrial—a trial to be conducted without his now tainted confession, without any physical evidence of a struggle, and with a dubious identification. In a stroke of all-too-common prosecutorial serendipity, however, Miranda’s common-law wife, the previously-mentioned Twila, emerged to testify that Miranda had admitted the rape to her. The fact that she and Miranda were then involved in a bitter custody dispute—are these ever otherwise described?—was conveniently ignored and the new jury said something to the effect of where are your Supremes now because we agree with the first jury. Miranda was eventually paroled then, the same year his country celebrated its two-hundredth birthday party, stabbed and killed in a Phoenix bar fight. As the police arrested one of his assailants they took care to read him his Miranda rights in English and Spanish. Digression ends.
Product details
- Publisher : University of Chicago Press; Reprint edition (April 19, 2012)
- Language : English
- Paperback : 678 pages
- ISBN-10 : 0226141799
- ISBN-13 : 978-0226141794
- Item Weight : 2 pounds
- Dimensions : 1.5 x 6.25 x 9.25 inches
- Best Sellers Rank: #607,712 in Books (See Top 100 in Books)
- #632 in Lawyers & Criminals Humor
- #6,354 in Contemporary Literature & Fiction
- #26,320 in Literary Fiction (Books)
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In a dazzling first chapter, we meet our protagonist, Casi, a brilliant young public defender in the City of New York. His pre-court conversations with his clients in which they recount the circumstances that brought them to One Centre Street are at times as laugh-out-loud funny as they are tragic and mundane. The tone is realistic, but also stylized and surrealistic. Simply brilliant, but it's the kind of brilliance that occasionally throws the reader off balance, and challenges our attention deficits. It's also something we don't often see in American fiction, a look at the utter and complete absurdity of a system that has taken the line "Are there no jails?" from a A Christmas Carol and used to form a public policy that criminalizes poverty.
While we eventually get back to many of those first clients, we get too many other set ups and people in the interim. Characterization in particular suffers. As one of the few negative customer reviews on Amazon put it, there are too many characters who are "not quite there enough to be actual characters." In fact, it's an almost solipsistic in its viewpoint with the protagonist/narrator as the only one who comes across as real.
Plot gets lost in all the sauce or sauces as well. A novel doesn't need much of a plot to work, but there has to be some momentum to get the readers to pick the book up again after they've put it down or maybe not put it down in the first place. I enjoyed myself while reading the book, but sometimes didn't get back to it for weeks. There was nothing urgent, nothing compelling. (I write this on a Sunday when I am now counting down the minutes till we find out Hank's fate on Breaking Bad. There's something to be said for cliffhangers.)
The plot does begin to emerge eventually- or rather two strands out of many do. Casi is working on the death penalty appeal of a developmentally delayed man in Alabama. At the same time, he is being drawn in more and more by his colleague Dane, who is trying to recruit him as a partner in the perfect caper - stealing millions of dollars from drug dealers.
Dane at first comes across as a mouthpiece to state clearly the absurdity and inequity of the criminal justice system, but then his scheme takes over and he turns into Mephistopheles from Faust, manipulating Casi, using every means available to draw him in. Here the author is extremely skillful. It was believable how the twenty-three year old Casi could go from dismissing Dane outright, to listening, to problem solving as though it were merely an intellectual exercise, to actually considering it and beyond.
There begins to be a little suspense regarding whether or not Casi will go through with it and if he does whether or not he'll be successful. The robbery itself, which doesn't exactly go as planned, was extremely well written, and makes clear de la Pava's skills as a storyteller. But in the aftermath of that and the last hundred pages or so the pace again slackens, and we go from the surreality of every day life to a kind of deus ex machina explanation as the laws of the physics begin to unravel.
Like the robbery, theoretically this could all work. But there's just too much of it. Too many absurdities. Too many abrupt and clumsy changes in tone. Too many pieces that seem intriguing - his neighbor, Angus' obsession with bringing Ralph Kramden from The Honeymooners to life, Casi's near obsession with the life and career of Wilfred Benitez, his niece's elective mutism - to name three. And finally too much of a feeling that de la Pava is not completely in control.
I'm not sure where or what should have been cut, but I'm pretty sure if the novel lost a hundred pages or so it would have been better. Would I lose Casi's mother's recipe for empanadas? Maybe not, but I skipped the several pages long story in verse which he tells his niece. Would that have drawn all the threads together? I'm not sure what was up with the monkey by the Brooklyn Bridge either, and he could have skipped or tightened some of Casi's many encounters with his neighbors.
I'll go with the Slate review in which Paul Ford suggested that de la Pava writes like someone who was afraid he'd never be allowed to write another novel, so everything had to go into this one. I'm also in agreement with Stuart Kelly's assessment in The Guardian, "As much as I loved it, I wished he had had an editor." (Given my beliefs about self-publishing, I'd be willing to amend that to "I wish he'd had at least a few honest beta readers, and the judgement and humility to listen to them.)
Is it worth the read? Yes. It's at least worth the attempt. For all its excesses, it's better than 95% of the books out there. (Hence the 5-stars.) It's interesting that it was a university press and not one of the big boys that eventually took a chance on it, but it's not surprising given that corporate publishing only cares about the potential for commercial (not artistic) success. I'm glad de la Pava is getting the attention he deserves, but I doubt it will lead more of the important people to be less automatically dismissive of self-published works. This novel would have been just as good if the University of Chicago had not picked it up, but it wouldn't have been eligible for the prestigious Pen award it received. Wouldn't it be great if its discovery caused organizations like Pen to think differently about self-published work? To seek out the good stuff from whatever source?
Like THAT'S going to happen.
"Sergio De La Pava is a writer who does not live in Brooklyn."
Consider that Brooklyn is the writer's writers' colony of Pulitzer and other award-stamped writers, the borough of billboard blockbusters and earnest publicity favorites scratching out their lines between the lines of the backlit white box. And, all this time, La Pava was under the radar, his brain a sapient submarine with the torqued turbines whirring, writing the most spectacular linguistic blitzkrieg of a novel that I have encountered in the past decade (or more). Too bad publicity counts for so much, because the only introduction he needs is this phenomenal, audacious, achingly humane book to speak for itself.
It reads like defiance with a deep, scalding, tender, moral center. As in David Foster Wallace's Infinite Jest, it is full of subversive philosophical digressions and anarchic linguistic feats, while invoking the acute probity that penetrated and pervaded Wallace's seminal work of postmodern fiction. But he does not mimic DFW. De La Pava has his own style that also pays homage to Wallace, as well as others such as Pynchon and Gaddis, but other than recognizing that he is the literary stepson or nephew or cousin to this group of writers, you observe that he is the master of his own insurgent narrative.
How refreshing that the back cover of the novel doesn't spell out the plot and spoil the adventure of discovery. My intention is to just give a whiff, provoke you to read this book. If you like unconventional, genre-bending, linguistic acrobatics, you'll delight in this novel. De La Pava combines a bracing book of ideas with a thrilling crime caper, which is at the root of the novel's digressions. So if you also want a driven, page-turning, heated suspense, you will be blissed out with the white-knuckle, fist-clenching plot at the center of the story.
You follow twenty-four-year-old Casi (no last name given) in every scene, a brilliant public defender in the Manhattan criminal justice system, circa 2002 (but it never states that). There's lots of dialogue--it actually begins with a typical day at work for Casi, with dialogue as the main narrative thrust, and the injustices of the justice system a scorching context that is so absurd as to be authentic. Wait--actually, it is so authentic as to be absurd. Anyway, it is ripe and thoroughly engaging with easy access right from the pages to the courthouse. If you like The Wire, you will like this breezy but blistering exchange of voices. Casi's negotiations with drug-addled, impoverished criminals and nefarious judges illuminate just how inverted and perverted morality and justice can be. It's an unfiltered colloquy that self-critiques with its nakedness, and reads unplugged like the basement tapes of the New York justice system.
Don't forget it has a sinewy, chewy center. You won't be able to breathe as you get nearer and nearer and then immerse in the wily, implausible, but believable and mad, madcap, tense, intense, heart-racing, unstoppable mischievous pole vault of tomfoolery at its core. Oh, and the beauty, the unutterable beauty of the novel as a whole.
De La Pava's novel radiates a rogue nobility and optimism through the muck--humanity eclipsing the corruption and toxicity of bureaucracy and entertainment, Television with a capital T, justice with a capital punishment. It hits the upper and lower registers of the heart and soul with a moving potency. De La Pava can talk about anything and make it interesting. I am now well-informed about middleweight boxing, a sport I had no interest in before, but the author blends it in like allegory.
Casi is flawed, as are all these true-to-life and larger-than-life characters, but graced with a clemency and charm that is displayed when he is with his family, mostly Colombian immigrants with a rich vernacular and sumptuous recipe for empanadas. Casi's interactions with family serve as a luminous contrast to his work life, adding a dimension of emotional vulnerability to Casi's character that also kindles and reflects his conscience.
Imagine what this encyclopedic novel can encompass and it is probably there. Philosophy, media, crime, entertainment, love, intelligence, The Honeymooners, boxing, psychology, physics and more. The author navigates the 21st century without including cell phones, computers (and emails), and no mention of 9/11! Yay!
This book is a recipe for singular pleasure, enjoyable whether naked or clothed. Remarkable, towering, darkly comical, heartbreaking. Free of petty homilies and clichés, leave your platitudes at the door.
Top reviews from other countries
The book is about the trials and tribulations of a New York public defender identified only by his first name. The sections about his professional life tend to be the most interesting apart from the account of a heist about which more later...
However,we are treated to endless accounts of boxing matches involving a particular boxer which just serve as pointless digressions when you the story to move forward. And in this book, a great story emerges and the pages carrying this are often unputdownable.
Then there's the poetry..
Then there's the attempts at surrealism (lots)...
And an almost verbatim account of a burglary trial. Now I used to be a criminal legal aid lawyer and this particular case is about as interesting as any of my breach of the trials at Glasgow District Court, which is to say, not really.There pages and pages on this.
As to the writing, if you want character, well forget about it. Most of the characters talk the same way which is admittedly a fault you could also direct at any number of critically-acclaimed writers like Don De Lillo. It tends just to remind you of other way better writers you've read like David Foster Wallace, Joseph Heller and so on. I therefore can't say the author has a nakedly singular voice. As I mentioned earlier, the main character isn't even given a second name, which just seems like a lame attempt to give the book some kind of off-kilterness, some undeserved heft.
I can see that the author obviously wanted to avoid writing a Scott Turow-type straightforward earnest novel about the tribulations of a New York PD and he's certainly succeeded in avoiding that, but I'm just not the chosen approach really works.
But when we get to the heist, the book really comes alive and also I shouldn't forget the very moving sections where Casi, the PD, goes to visit a client in Alabama on death row.
Did I mention the boxing..?
I just don't understand why the book which was I understand originally self-published wasn't later edited, as a number of reviewers have said. It needed serious pruning.
But, my god, I need to finish by saying this book is really memorable, which I can't quite fathom, and is something I can't say about most of what I read these days. I haven't been able to get it out of my head since I stopped reading it, like some really great song that won't leave your brain alone, which is why I've rated it four stars.
I read that as this was self-published there was no professional editor involved and this makes sense. You could really skip some of the boxing histories and not miss anything. Nonetheless, some of the writing here is just absolutely brilliant: precise, dynamic, brilliant at controlling the pace.
Stick with it.
Jim Simpson







