Male bonds among the literary set


David Gilbert writes what is sure to be an instant classic with shrewd insight.

Six months ago, the name David Gilbert was probably known by relatively few outside the author’s family, his friends and the editors and close readers of those magazines where his short stories have appeared. But six months from now, Gilbert’s should be among the half-dozen or so names cited by critics and serious readers when they’re asked who produced 2013’s most dazzlingly smart, fully realized works of fiction. What’s old-school audacious about & Sons, his third book (after Remote Feed and The Normals), is the way he presents this perfectly legitimate bid for Great American Novel consideration: by demythologizing those swaggering, self-assured figures to whom we’ve accorded Great American Novelist status.

The aging lion prowling around his Upper East Side den is A.N. (Andrew) Dyer, who occupies in Gibson’s invented world a position much like that once occupied by J.D. Salinger. Andrew is notoriously reclusive and press-shy, and yet practically everyone in the English-speaking world counts him as a close confidant based on having discovered his canonical masterpiece, Ampersand, at that point in their lives when its pitch-perfect evocation of adolescent angst spoke to them on a personal level.

Andrew spends the next 50 years trying to best his triumphant debut, an effort that leaves little energy left over for his family. His oldest son, Richard, barely survived a freewheeling tour of the drug-fueled 1980s Manhattan demimonde. He finally resurfaced in the form of a strait-laced substance-abuse counselor and family man. Jamie, Richard’s younger brother, is a documentary filmmaker whose forte is the intentionally flat depiction of human misery, his larger aesthetic goal being “to fight the easy art-making instinct. People die. People suffer. This is how they die. This is how they suffer. It’s unspeakably small yet unspeakably big.”

Andrew’s wife left him shortly after he had a third son, Andy, with another woman. As & Sons opens, the frail, confused, 79-year-old Andrew is fretting: He’s supposed to be delivering the eulogy for a dearly departed best friend, but he can’t locate Andy. In fact, the 17-year-old’s unruly hormones have led him outside onto the church’s steps, where he has made arrangements to meet a 24-year-old woman, an online acquaintance with whom he hopes to lose his virginity.

Our guide to these appetite-driven men of the Dyer family is Philip Topping, whose knowing and elegant account of other, more colorful people’s lives would seem to situate him in Nick Carraway territory. The funeral is his father’s; middle-aged Philip has spent his whole life in the shadow of one Dyer man or another, once as the object of Richard’s scorn and Jamie’s overcompensating pity, and later as a would-be novelist hoping to be taken under Andrew’s wing. Which eventually happens, though not in the way Philip would have preferred: After Philip recklessly destroys his marriage and loses his job as a private-school English teacher, Andrew invites him to stay at the mostly empty Dyer apartment until he can get his pathetic life back on track.

From this suspect vantage point — of the charity case, the resentful hanger-on, the broken man with not much left to lose — Philip asks readers to have faith in his reliability. He’s a wonderful storyteller, clever and filled with shrewd insights about these men whom he appears to know better than his own family. But he’s so smooth, he’s almost certainly got to be slippery. He’s too comfortable crossing established lines and violating set rules, starting with the one that requires a narrative voice be either in the sweeping, omniscient third person or in the intimate, confessional first person. Philip wants to have it both ways. But of course, he can’t, not if he’s going to give us the true story about what really happened to Andrew, Richard, Jamie and (especially) Andy when they all came together during that fateful family reunion at the Dyer homestead one weekend.

The sculpted beauty of Gilbert’s sentences, as filtered through Philip, incline us toward forgiveness, something we may feel the need to dispense at the novel’s halfway point. There that we encounter a crucial yet crazy plot device. Readers who don’t mind the occasional twist of sci-fi whimsy to perk up stodgy old psychological realism may not be bothered by it. Others, however, may find themselves penciling a question mark in the margin.

Fortunately, the richness and realness of the relationships Gilbert has imagined help to maintain a sort of immune system that’s naturally resistant to plot-manipulating pathogens. And really, who needs contrived twists when the regular collisions between all these long-lost fathers, sons, grandsons, brothers and ex-best friends yield so many surprising moments?

Jeff Turrentine reviewed this book for The Washington Post.

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