*Starred Review* In this powerful first novel, which has garnered plenty of prepub buzz, Ross delivers one scorching scene after another showing the dark side of marriage. David and Alice Pepin have been married for 13 years, and despite the fact that David continually declares that he has been in love with Alice ever since he first spotted her in a film class on Alfred Hitchcock, he is continually imagining her death via airplane crashes, carjackings, burglaries gone bad, shark attacks, and “convenient acts of God.” After a particularly stressful period in their marriage, brought on by Alice’s multiple miscarriages, Alice is found dead at the kitchen table, and David is the prime suspect. Both Detective Sam Sheppard (based on the real-life doctor convicted of killing his wife in an infamous 1954 trial) and Detective Ward Hastroll, whose wife suffers from a debilitating depression, are convinced David murdered his wife. Ross is interested in all the soul-killing ways men and women try and fail to achieve intimacy, and, like Joshua Ferris in The Unnamed (2010), he wraps his age-old theme in a confounding yet mesmerizing format. With its noirish sensibility and eloquent prose, this dark novel depicts marriage as one “long double homicide.” --Joanne Wilkinson
Review
Mr. Peanut’s Best of 2010 Lists
Milwaukee Journal Sentinel: “Sophisticated, surreal and creepy.”
The New Republic: “Of all the novels I read this year, this was the one that I read most eagerly, consuming it in eager gulps, dismissing other obligations.”
The Philadelphia Inquirer: “A formidable literary talent…Finely wrought and challenging.”
“Ross—in a brilliant stylistic mirror of marriage—blends dream and reality, fact and perception in a narrative that's both cinematic and lyrical…The book is by turns harrowing, tender and funny.” —Nancy Connors, Cleveland Plain Dealer
“Mr. Peanut is full of tricks: shifting narrations, quirky chronology and meta-novels within novels. The effect is disorienting, but the characters are too well drawn to feel like pawns in some game. The result is a deliciously clever book, full of dark insight and even a touch of hope.” —The Economist
“Fearless, challenging and unforgettable…Mr. Peanut is acutely funny and profoundly sad, an unexpected and unsettling journey into the heart of contemporary darkness….[Ross is] a sublimely impertinent new writer.” —Steve Whitton, The Anniston Star
“[A] major work….Stories are told and retold, hinge on one another, depend, and connect. That layering, that subsonic, towering buildup, is how Mr. Peanut works, and it is a marvel.” —John Timpane, The Philadelphia Inquirer
“An author whose voice is so distinct and vivid that you truly can’t find any comparison [and] a book whose combination of rhythm, language and style are unlike anything else I’ve ever encountered…a sort of wondrous literary alchemy [that’s] laugh-out-loud funny and shrewdly aware of human nature…Read Mr. Peanut for its insight into marriage. Read it for the humor. Read it for the thrills. Just read it, please.” —Joy Tipping, The Dallas Morning News
“An ambitious and well-crafted noir that manages to humanise its characters while fashioning their stories into a gripping page-turner. Ross’s depiction of love and hatred, and the conflicted ways we manifest these feelings, is both sensitive and fearless.” —Mary Fitzgerald, The Guardian (U.K.)
“Plainly thrilling…the work of a boundlessly eager writer willing to try just about anything, and invite us to share in his sinister joy.” Christopher Kelly, The Kansas City Star
“Exciting and strangely moving [and] vastly ambitious….The whodunit aspect of Mr. Peanut is absorbing, but the infinite mysteries of marriage are really at the heart of this novel and drive its considerable emotional suspense.” —Hilma Wolitzer, The East Hampton Star
“A murder mystery [and] also a complicated jigsaw puzzle of intertwined relationships….This may be [Ross’s] first novel, but it’s written as though he’s been doing it for ages.” —Dwight Silverman, Houston Chronicle
“An existential puzzle of a book, a noirish work that seemingly has no literary precendent.” —Rege Behe, Pittsburgh Review-Tribune
“The debut of an enormously talented writer…From the first page on, it’s clear that Mr. Ross is a literary gymnast [and] a sorcerer with words…Dark, dazzling…A Rubik’s cube of a story that reads like a postmodern mash-up of Tolstoy’s Kreutzer Sonata, Edward Albee’s Who’s Afraid of Virginia Woolf? and one of James M. Cain’s noirish mysteries.” —Michiko Kakutani, The New York Times
“Darkly funny, densely woven and deeply unnerving…a page turner that reveals something new from every angle.” —Jim Ridley, The Nashville Scene
“Gripping…This highly original debut uses the police procedural as a hall of mirrors to reflect pleasure and guilt, marriage and murder.”—Christopher Fowler, Financial Times
“An enormous success—forceful and involving, often deeply stirring and always impressively original…A brilliant, powerful, memorable book.” —Scott Turow, The New York Times Book Review, front page
“A stunningly dark debut that takes as its forebears both Scott Turow and Italo Calvino…To say this is a thematically rich book is hardly to do [it] justice…there is a way in which this too-clever-to-be-neat story resists such thematics…yet Ross cleaves closely to all the pleasures of the genre: mystery, suspense, romance, surprise. And in this sense, Mr. Peanut is highly unique—a disturbingly funny and remarkably poignant novel from one of the year’s most promising new voices.” —Jillian Quint, BookPage
“A dark tale of love, hate, murder and marriage: a cleverly written, structurally complex narrative.” —NPR.org
“Mr. Peanut crackles with life.” —Benjamin Moser, Harper’s
“Powerful…delivers one scorching scene after another. Ross is interested in all the soul-killing ways men and women try and fail to achieve intimacy, and [with] noirish sensibility and eloquent prose, he wraps his age-old theme in a confounding yet memsmerizing format.” —Joanne Wilkinson, Booklist, starred
“Mr. Peanut is as ingenious as it is riveting.” —Richard Russo
“Inspired….Ross’s depiction of love is grotesque and tender at once, and his style is commanding as he combines torture and romance to create a sense of vertigo-as-romance. It’s a unique book—stark and sublime, creepy and fearless.” —Publishers Weekly
"Adam Ross has crafted a diabolically intricate novel, one that presents all the pleasures and challenges of a well-wrought Sudoku puzzle. There's a whiff of alchemy to the book. You can't quite believe that its many pieces fit together so snugly, yet they do. Once you've finished, you run your eye back and forth and up and down, and every way you look it adds up. Mr. Peanut is smart, funny, gripping, and—in its ultimate unravelling—sneakily sad." —Scott Smith
“The most riveting look at the dark side of marriage since Who’s Afraid of Virginia Woolf?…It induced nightmares, at least in this reader. No mean feat.” —Stephen King
“A Möbius strip of a novel, folding the unsavory anticipation of American Psycho into a domestic drama straight out of Carver-esque America…An intellectual noir novel and an original voice.” —Kirkus Reviews, starred
“This book blew me away…It’s engaging and gripping like a good murder mystery, but more richly layered and intellectually engaging than a beach read…I’m likening it to a great meal at a restaurant–the appetizer gains your trust, the first course provides some revelations, the second demonstrates the chef’s skills, and the dessert just blows you away. Ross is truly a great wordsmith…[It] might be the best book I’ve read so far in 2010. In fact, it might be one of the best books of the year.” —Bookdwarf.com, Megan Sullivan (Harvard Book Store)
“It’s very hard to describe Mr. Peanut, and I envy those who haven’t read it yet. The story is sometimes cinematic, not only in it’s themes but its wildly exciting narrative pace which never lets you go. Adam Ross delivers a multifaceted inspection of marriage, telling the story of several different couples in crisis, which is at times reminiscent of Cheever and Updike. On the whole the book reminds me of Zadie Smith’s On Beauty; it carries that same power, the all knowing and all seeing brilliance of a writer who is in complete control. Now that I’ve finished Mr. Peanut, I want to stop strangers on the street and tell them about it, the book is that good.” —Jason Rice, threeguysonebook.com
About the Author
Adam Ross lives in Nashville, Tennessee, with his wife and their two daughters.
www.adam-ross.com
Excerpt. © Reprinted by permission. All rights reserved.
WHEN DAVID PEPIN FIRST DREAMED of killing his wife, he didn't kill her himself. He dreamed convenient acts of God. At a picnic on the beach, a storm front moved in. David and Alice collected their chairs, blankets, and booze, and when the lightning flashed, David imagined his wife lit up, her skeleton distinctly visible as in a children's cartoon, Alice then collapsing into a smoking pile of ash. He watched her walk quickly across the sand, the tallest object in the wide-open space. She even stopped to observe the piling clouds. "Some storm," she said. He tempted fate by hubris. In his mind he declared: I, David Pepin, am wiser and more knowing than God, and I, David Pepin, know that God shall not, at this very moment, on this very beach, Jones Beach, strike my wife down. God did not. David knew more. And in their van, when the rain came so densely it seemed they were in a car wash, he boasted of his godliness to Alice, asked rhetorically if a penis this large and this erect (thus exposed) could be anything but divine, and he made love to his wife angrily and passionately right in the front seat, hidden by the heavy weather.
He dreamed unconsciously and he dreamed sporadically. His fantasies simply welled up. If she called from work, he asked, "Did something happen?" If she was late coming home, he began to worry too soon. He began to dream according to her schedule. "Taking the train today?" David asked in the morning. "Taking the train," Alice said. It was a block west to Lexington where she'd pick up the subway down to 42nd Street. At Grand Central, she'd take Metro-North thirty minutes to Hawthorne, where she taught emotionally disturbed and occasionally dangerous children. Anything could happen between here and there. On the edge of the platform, two boys were roughhousing. The train came barreling into the station. An accidental push. Alice, spun round, did a crazy backstroke before she fell. And it was over. David winced. The things that went through his mind! From their window, he watched Alice walk up the street. A helicopter passed overhead. On Lexington, at the building under construction, a single girder was winched into the sky. And David imagined this was the last time he would ever see his wife-that this was the last image he'd have of her-and he felt the sadness well up and had the smallest taste of his loss, like the wish when you're young that your parents would die.
There could be no violence. It was a strange ethics attending his fantasy. He dreamed the crane tumbling, the helicopter spiraling out of control, but he edited out all the terror and pain. There was Alice, underneath the wreckage, killed instantly or sometimes David was there, by her side, inserted just before the fatal moment. He held her hand, they exchanged last words, and he eased her into death.
"David," Alice said, "I love you."
"Alice," David said, "I love you too."
Her eyes glassed over. There could be no violence. But occasionally David became a Walter Mitty of murder. He dreamed his own agency. He did it. He shot Alice, he bludgeoned her, he suffocated her with a pillow. But these fantasies were truncated; they flashed in his mind, then he cut them off before the terminal moment because he never surprised her in time. He saw her recognize him as he came round the corner with knife, bat, or gun, felt her hand grip the arm that held the pillow over her face-and it was all too terrible to contemplate.
"Whale!" he screamed at her, because she was enormous. "Goddamn blue whale!" (She'd struggled mightily with depression but was now back on meds.)
When they argued, they were ferocious. They'd been married to each other for thirteen years and still went for jugulars and balls.
"Genius," she said. That drove him nuts. He was a lead designer and president of Spellbound, a small, extremely successful video game company. People in the industry called him a genius all the time, but during moments of doubt David confessed to her that the games they produced were inane at best, mind-killing-to his and to the kids who played them-at worst.
"I wish you were dead!" David screamed.
"I wish you were dead too!"
But this was a relief. The desire was mutual. He wasn't alone.
Later, after the quiet time, he apologized. "I'm sorry," he said. "I shouldn't talk to you like that."
"I'm sorry," Alice said. "I hate fighting with you."
They held each other in the living room. It was evening now and there were no lights on in the apartment. For hours they'd been sitting separately in the dark.
His love for his wife was renewed. How could he think the things he'd thought? They took a shower together; it was one of their favorite things to do. He put his arms against the walls and she lathered his back, cleaned the cheeks of his ass and behind his ears. When she shaved his face, she unknowingly mimicked his expression. Afterward, she ran a bath.
"You know who I was thinking about today?" David said. Things between them still felt delicate, bruised, and he wanted to make conver-sation.
"Who?"
"Dr. Otto."
She glanced at him and smiled sadly. Whether it was the associations his name conjured up or how long ago it was that they'd sat in his class-it was where they'd first met-he couldn't be sure. At the moment, David was sitting on the edge of the tub, Alice's ankle in hand. He had soaped down her calf and was shaving it carefully. Hair grew in different directions in different spots.
"Have you spoken to him?"
"Not for years. I read in the quarterly that his wife passed away."
"I'm sorry to hear that."
"I'm sure he's had a hard time."
"And who hasn't?" Alice said.
She completely filled up the bath. Her triceps swelled out separately, like a pair of dolphin fins; her breasts floated like twin islands. And she had the most beautiful face, the longest, finest chestnut- colored hair, and fabulous hazel-colored eyes. But she'd grown huge, and David didn't pity her, though he knew it was difficult for her to carry the weight. At her maximum this year she'd reached 288 pounds. She'd bought a digital scale (doctor's orders) that flashed bright red numbers. She'd weigh herself in the morning as soon as she woke up, her hair hanging over her face as she stared between her feet.
"I wish I were dead," Alice said.
And he wished her thin for her own happiness, but for himself he wished she remained fat. He loved the giganticness of her, loved to hold on to her mountain of ass. If he made love to her from behind, he imagined himself an X-rated Gulliver among the Brobdingnags. It was the difference in proportion that turned him on. Closing his eyes, he exaggerated her size, made himself extra small, David holding on, his arms outstretched, smashing into her rear for life, life, life. She was not his wife but a giant she-creature, an overlarge sex pet: his to screw, groom, and maintain. After they made love, she lay facedown on the bed, palms turned up toward the ceiling, eyes glazed open and body motionless (the weight had not deformed her, only intensified her curves, widened her like the Venus of Willendorf), Alice shot dead by David's potent love.
There were no children. In the end, it had been her choice.
"I was talking with Marnie the other day," Alice said.
David, working in his study, minimized the screen. "And?"
"She's pregnant."
Alice waited. David waited too. He put his elbow on the desk and rested his chin in his hand.
"And they just found out that their second child is going to be a girl," Alice said.
"And?"
"They only have a two-bedroom apartment."
"Go on."
"And the son, he can't share a bedroom with the daughter. But they can't afford a bigger place."
"So?"
"So they're going to have to move out of the city."
David took off his glasses, gently placed them on the table, then got up, walked to their bedroom, and leaned on the jamb.
"Can you imagine?" Alice said. She was focused on the TV; The Man Who Knew Too Much was on A&E. They looked at each other, smiled knowingly, then she turned back to the screen. She was deep into her second sleeve of low-fat Ritz crackers, halfway through her second bottle of wine. Crumbs lay across her chest and stomach like snow. At the edge of her lips were two upturned, grape-colored tusks.
David walked over and hugged her. When he squeezed, the crumbs on her shirt crunched.
"I'm glad it's only us," David said.
"Oh, David," she whispered, and pulled him to her. "Sometimes I don't know why you love me."
It didn't help everything, but it helped.
There was nothing left unaccounted for in David's mind. He kept a running tab of his beneficent deeds, his good husbandry. Yet what occurred to him after he'd made her happy was: Why can't I always be this good? Why can't I be here with her completely now?
It was because of the book, he realized as he sat down at his desk again and brought it up on-screen. The book preoccupied him, gnawed at him. This book, unfinished, was always there. He'd started it just over a year ago, as an idea for a video game, but it had grown into something more. It was his top secret and he worked on it like a double agent, when she was out, when she was doing the dishes or surfing the Web-marriage's half-blind times. David kept the manuscript in a large box under the desk in his study. The writing had been a process of fitful stops and starts, of bursts and binges, of terrible dead ends. He was stuck now, stuck badly, but he refused to give up. The structure was complex, perhaps overly so, but the story was impossible to tell straight. Stymied, he had to step away from it for long periods at a time. He ignored it for weeks and weeks on end. He often worried there was nothing there; then he came around, sure that there was. And after Alice fell asleep, he sometimes wandered back to his study and took it out of the box to have a look. There's something about hard copy that a screen could...
