Jonathan Franzen's new novel, Freedom, like his previous one, The Corrections, is a masterpiece of American fiction. The two books have much in common. Once again Franzen has fashioned a capacious but intricately ordered narrative that in its majestic sweep seems to gather up every fresh datum of our shared millennial life…Like all great novels, Freedom does not just tell an engrossing story. It illuminates, through the steady radiance of its author's profound moral intelligence, the world we thought we knew.
The New York Times Book Review
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Freedom
Narrated by Pierre-François Garel
Jonathan FranzenUnabridged — 22 hours, 3 minutes
![Freedom](http://img.images-bn.com/static/redesign/srcs/images/grey-box.png?v11.11.4)
Freedom
Narrated by Pierre-François Garel
Jonathan FranzenUnabridged — 22 hours, 3 minutes
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Overview
Editorial Reviews
…a great novel…While his contemporaries content themselves with small books about nothing much or big books about comics, Franzen delivers the massive, old-school jams. It's not that Franzen's prose makes other writers seem untalented; it's that he makes them seem so lazy, so irrelevant, so lacking in the kind of chutzpah we once expected from our best authors. Freedom doesn't name check War and Peace for nothing. It's making a claim for shelf space among the kind of books that the big dogs used to write. The kind they called important. The kind they called greats.
Esquire
Jonathan Franzen's galvanic new novel, Freedom, showcases his impressive literary toolkitevery essential storytelling skill, plus plenty of bells and whistlesand his ability to throw open a big, Updikean picture window on American middle-class life. With this book, he's not only created an unforgettable family, he's also completed his own transformation from a sharp-elbowed, apocalyptic satirist focused on sending up the socio-economic-political plight of this country into a kind of 19th-century realist concerned with the public and private lives of his characters…Mr. Franzen has written his most deeply felt novel yeta novel that turns out to be both a compelling biography of a dysfunctional family and an indelible portrait of our times.
The New York Times
When Patty and Walter Berglund's teenage son moves in with their conservative neighbors and their perfect life in St. Paul begins to unravel, out spill family secrets--clandestine loves, lies, compromises, failures. David Ledoux's masterly narration is powerful and well paced, comic and poignant. He expertly captures Walter and Patty--with her anxious whinny of a laugh--and their family life with its satisfactions and histrionics. Ledoux also deftly renders the gossiping of the Berglund's disingenuous neighbors; the frenetic rants of the drug-addled Eliza; and the weary, disaffected drawl of sleazy musician Richard. A Farrar, Straus, and Giroux hardcover (Reviews, July 5). (Sept.)
A masterpiece of American fiction.” —The New York Times Book Review
“Mr. Franzen has written his most deeply felt novel yeta novel that turns out to be both a compelling biography of a dysfunctional family and an indelible portrait of our times.” —The New York Times
“A work of total genius.” —New York Magazine
“The Great American Novel.” —Esquire
“One of the best living American novelists.” —Time
“Epic.” —Vanity Fair
“Hugely ambitious . . . Freedom is very, very good.” —USA Today
“Brilliant . . . Epic . . . An extraordinary stylist.” —The Washington Post
“A surprisingly moving and even hopeful epic.” —NPR
“Sweeping and powerful.” —San Francisco Chronicle
“Consuming and extraordinarily moving.” —Los Angeles Times
“Immense and unforgettable.” —Chicago Tribune
“Devastatingly insightful.” —The Miami Herald
“A page turner that engages the mind.” —Newsday
“It's refreshing to see a novelist who wants to engage the questions of our time in the tradition of 20th-century greats like John Steinbeck and Sinclair Lewis . . . [This] is a book you'll still be thinking about long after you've finished reading it.” —Associated Press
“Deeply moving and superbly crafted . . . It's such a full novel, rich in description, broad in its reach and full of wry observations.” —Pittsburg Post-Gazette
“His writing is so gorgeous . . . Franzen is one of those exceptional writers whose works define an era and a generation, and his books demand to be read.” —St. Louis Post-Dispatch
“A tour de force . . . one of the finest novelists of his generation.” —The Philadelphia Inquirer
“A highly readable triumph of conventional realism . . . Addictive.” —The National
“The first Great American Novel of the post-Obama era.” —Telegraph (UK)
“A literary genius . . . This is simply on a different plane from other contemporary fiction . . . Freedom is the novel of the year, and the century.” —The Guardian (UK)
“A triumph . . . A pleasure to read.” —The New York Observer
“Exhilarating . . . Gripping . . . Moving . . . On a level with The Great Gatsby [and] Gone With the Wind.” —Bloomberg
After 20 years of a liberal, middle-class marriage, Walter and Patty Burglund's relationship falls apart under the weight of a morally ambivalent son, the return of Walter's famous best friend, and the 21st century. The highly anticipated follow-up to the National Book Award winner The Corrections (2001) lives up to the hype with Franzen's ability to capture the twists and turns of U.S. culture and history while weaving them into the lives of flawed but fully developed characters. While actor/narrator David Ledoux aptly portrays the emotions of the story, more distinguishable character voices would have made this audio version at times easier to follow. If you have a patron wanting one of the most heralded books of this year or decade, this is it. [The No. 1 New York Times best-selling Farrar hc received a starred review, LJ 8/10.—Ed.]—Johannah Genett, Hennepin Cty. Libs., Minneapolis
"Use Well Thy Freedom": this motto, etched in stone on a college campus, hints at the moral of Franzen's sprawling, darkly comic new novel. The nature of personal freedom, the fluidity of good and evil, the moral relativism of nearly everything—Franzen takes on these thorny issues via the lives of Walter and Patty Berglund of St. Paul. With two kids, a Volvo in the garage, and a strong social conscience, the Berglunds allow their good deeds to be tinged with just a hint of smugness (which eventually comes back to haunt them). Weaving in and out of their lives is old college friend Richard Katz, low-level rock star and ultra-hip antihero. Time goes by, the kids grow up, betrayals occur, and the thin line between right and wrong blurs. Fully utilizing their freedom—to make mistakes, confuse love with lust, and mix up goodness and greed—the Berglunds give Franzen the opportunity to limn the absurdities of our modern culture. Granola moms, raging Republicans, war profiteers, crooked environmentalists, privileged offspring, and poverty-bred rednecks each enjoy the uniquely American freedom to make disastrous choices and continually reinvent themselves. VERDICT As in his National Book Award winner, The Corrections, Franzen reveals a penchant for smart, deceptively simple, and culturally astute writing. Highly recommended. [See Prepub Alert, LJ 4/15/10.]—Susanne Wells, P.L. of Cincinnati & Hamilton Cty.
Masterful describes not only Jonathan Franzen’s latest novel but also David Ledoux’s reading of the book. From the beginning, FREEDOM is a gripping tragicomedy featuring Walter and Patty Berglund, whose lives unravel as they and their children confront their innermost selves. Ledoux’s performance is every bit the equal of Franzen’s brilliant dialogue and vivid characters. His voice inhabits the characters’ psyches, sharing their loves, fears, and anxieties. Ledoux gives a vibrant performance, imbuing each character with a unique voice and tone. As a result, the listener is drawn deeper into the story, experiencing every moment with the Berglunds as they try to cope with the changes in the world and in their home. FREEDOM demonstrates the power of both the written and spoken word. D.J.S. Winner of AudioFile Earphones Award, 2011 Audies Finalist © AudioFile 2010, Portland, Maine
The epic sprawl of this ambitious yet ultimately unsatisfying novel encompasses everything from indie rock to environmental radicalism to profiteering in the Middle East.
The first novel from Franzen in almost a decade invites comparisons with its predecessor, The Corrections, which won the 2001 National Book Award and sparked controversy with Oprah. Both are novels that attempt to engage—even explain—the times in which they transpire, inhabiting the psyches of various characters wrapped in a multigenerational, Midwestern family dynamic. Yet the plot here seems contrived and the characters fail to engage. The narrative takes the tone of a fable, as it illuminates the lives of Patty and Walter Berglund, politically correct liberals who have a seemingly idyllic marriage in Minnesota, and their two children, who ultimately find life way more complicated than the surface satisfaction of their parents had promised. Through flashbacks, chronological leaps and shifts in narrative voice (two long sections represent a third-person autobiography written by Patty as part of her therapy), the novel provides the back stories of Patty and Walter, their disparate families and their unlikely pairing, as the tone shifts from comic irony toward the tragic. Every invocation of the titular notion of "freedom" seems to flash "theme alert!": "He was at once freer than he'd been since puberty and closer than he'd ever been to suicide." "She had so much free time, I could see that it was killing her." "People came to this country for either money or freedom. If you don't have money, you cling to your freedoms all the more angrily." "But it didn't feel like a liberation, it felt like a death." Such ideas seem a lot more important to the novelist than the characters in which he invests them, or the plot in which he manipulates those characters like puppets. Franzen remains a sharp cultural critic, but his previous novels worked better as novels than this one does.
If "freedom's just another word for nothing left to lose" (as Kris Kristofferson wrote), this book uses too many words to convey too much of nothing.
Product Details
BN ID: | 2940159758446 |
---|---|
Publisher: | Editions Theleme from W. F. Howes |
Publication date: | 11/21/2011 |
Edition description: | Unabridged |
Language: | French |
Read an Excerpt
CHAPTER 1
Agreeable
If Patty weren't an atheist, she would thank the good Lord for school athletic programs, because they basically saved her life and gave her a chance to realize herself as a person. She is especially grateful to Sandra Mosher at North Chappaqua Middle School, Elaine Carver and Jane Nagel at Horace Greeley High School, Ernie and Rose Salvatore at the Gettysburg Girls Basketball Camp, and Irene Treadwell at the University of Minnesota. It was from these wonderful coaches that Patty learned discipline, patience, focus, teamwork, and the ideals of good sportsmanship that helped make up for her morbid competitiveness and low self-esteem.
Patty grew up in Westchester County, New York. She was the oldest of four children, the other three of whom were more like what her parents had been hoping for. She was notably Larger than everybody else, also Less Unusual, also measurably Dumber. Not actually dumb but relatively dumber. She grew up to be 5'9½" which was almost the same as her brother and numerous inches taller than the others, and sometimes she wished she could have gone ahead and been six feet, since she was never going to fit into the family anyway. Being able to see the basket better and to post up in traffic and to rotate more freely on defense might have rendered her competitive streak somewhat less vicious, leading to a happier life post-college; probably not, but it was interesting to think about. By the time she got to the collegiate level, she was usually one of the shorter players on the floor, which in a funny way reminded her of her position in her family and helped keep adrenaline at peak levels.
Patty's first memory of doing a team sport with her mother watching is also one of her last. She was attending ordinary-person Sports day camp at the same complex where her two sisters were doing extraordinary-person Arts day camp, and one day her mother and sisters showed up for the late innings of a softball game. Patty was frustrated to be standing in left field while less skilled girls made errors in the infield and she waited around for somebody to hit a ball deep. She started creeping in shallower and shallower, which was how the game ended. Runners on first and second. The batter hit a bouncing ball to the grossly uncoordinated shortstop, whom Patty ran in front of so she could field the ball herself and run and tag out the lead runner and then start chasing the other runner, some sweet girl who'd probably reached first on a fielding error. Patty bore down straight at her, and the girl ran squealing into the outfield, leaving the base path for an automatic out, but Patty kept chasing her and applied the tag while the girl crumpled up and screamed with the apparently horrible pain of being lightly touched by a glove.
Patty was aware that it was not her finest hour of sportsmanship. Something had come over her because her family was watching. In the family station wagon, in an even more quavering voice than usual, her mother asked her if she had to be quite so ... aggressive. If it was necessary to be, well, to be so aggressive. Would it have hurt Patty to share the ball a little with her teammates? Patty replied that she hadn't been getting ANY balls in left field. And her mother said: "I don't mind if you play sports, but only if it's going to teach you cooperation and community-mindedness." And Patty said, "So send me to a REAL camp where I won't be the only good player! I can't cooperate with people who can't catch the ball!" And her mother said: "I'm not sure it's a good idea to be encouraging so much aggression and competition. I guess I'm not a sports fan, but I don't see the fun in defeating a person just for the sake of defeating them. Wouldn't it be much more fun to all work together to cooperatively build something?"
Patty's mother was a professional Democrat. She is even now, at the time of this writing, a state assemblywoman, the Honorable Joyce Emerson, known for her advocacy of open space, poor children, and the Arts. Paradise for Joyce is an open space where poor children can go and do Arts at state expense. Joyce was born Joyce Markowitz in Brooklyn in 1934 but apparently disliked being Jewish from the earliest dawn of consciousness. (The autobiographer wonders if one reason why Joyce's voice always trembles is from struggling so hard all her life to not sound like Brooklyn.) Joyce got a scholarship to study liberal Arts in the woods of Maine where she met Patty's exceedingly Gentile dad whom she married at All Souls Unitarian Universalist Church on the Upper East Side of Manhattan. In the autobiographer's opinion, Joyce had her first baby before she was emotionally prepared for motherhood, although the autobiographer herself perhaps ought not to cast stones in this regard. When Jack Kennedy got the Democratic nomination, in 1960, it gave Joyce a noble and stirring excuse to get out of a house that she couldn't seem to help filling up with babies. Then came civil rights, and Vietnam, and Bobby Kennedy — more good reasons to be out of a house that wasn't nearly big enough for four little kids plus a Barbadian nanny in the basement. Joyce went to her first national convention in 1968 as a delegate committed to dead Bobby. She served as county party treasurer and later chairman and organized for Teddy in 1972 and 1980. Every summer, all day long, herds of volunteers tramped in and out through the house's open doors carrying boxes of campaign gear. Patty could practice dribbling and layups for six hours straight without anybody noticing or caring.
Patty's father, Ray Emerson, was a lawyer and amateur humorist whose repertory included fart jokes and mean parodies of his children's teachers, neighbors, and friends. A torment he particularly enjoyed inflicting on Patty was mimicking the Barbadian, Eulalie, when she was just out of earshot, saying, "Stop de game now, stop de playin," etc., in a louder and louder voice until Patty ran from the dinner table in mortification and her siblings shrieked with excitement. Endless fun could also be had ridiculing Patty's coach and mentor Sandy Mosher, whom Ray liked to call Saaaandra. He was constantly asking Patty whether Saaaandra had had any gentlemen callers lately or maybe, tee hee, tee hee, some gentlelady callers? Her siblings chorused: Saaaandra, Saaaandra! Other amusing methods of tormenting Patty were to hide the family dog, Elmo, and pretend that Elmo had been euthanized while Patty was at late basketball practice. Or tease Patty about certain factual errors she'd made many years earlier — ask her how the kangaroos in Austria were doing, and whether she'd seen the latest novel by the famous contemporary writer Louisa May Alcott, and whether she still thought funguses were part of the animal kingdom. "I saw one of Patty's funguses chasing a truck the other day," her father would say. "Look, look at me, this is how Patty's fungus chases a truck."
Most nights her dad left the house again after dinner to meet with poor people he was defending in court for little or no money. He had an office across the street from the courthouse in White Plains. His free clients included Puerto Ricans, Haitians, Transvestites, and the mentally or physically Disabled. Some of them were in such bad trouble he didn't even make fun of them behind their backs. As much as possible, though, he found their troubles amusing. In tenth grade, for a school project, Patty sat in on two trials that her dad was part of. One was a case against an unemployed Yonkers man who drank too much on Puerto Rican Day, went looking for his wife's brother, intending to cut him with a knife, but couldn't find him and instead cut up a stranger in a bar. Not just her dad but the judge and even the prosecutor seemed amused by the defendant's haplessness and stupidity. They kept exchanging little not-quite winks. As if misery and disfigurement and jail time were all just a lower-class sideshow designed to perk up their otherwise boring day.
On the train ride home, Patty asked her dad whose side he was on.
"Ha, good question," he answered. "You have to understand, my client is a liar. The victim is a liar. And the bar owner is a liar. They're all liars. Of course, my client is entitled to a vigorous defense. But you have to try to serve justice, too. Sometimes the P.A. and the judge and I are working together as much as the P.A. is working with the victim or I'm working with the defendant. You've heard of our adversarial system of justice?"
"Yes."
"Well. Sometimes the P.A. and the judge and I all have the same adversary. We try to sort out the facts and avoid a miscarriage. Although don't, uh. Don't put that in your paper."
"I thought sorting out facts was what the grand jury and the jury are for."
"That's right. Put that in your paper. Trial by a jury of your peers. That's important."
"But most of your clients are innocent, right?"
"Not many of them deserve as bad a punishment as somebody's trying to give them."
"But a lot of them are completely innocent, right? Mommy says they have trouble with the language, or the police aren't careful about who they arrest, and there's prejudice against them, and lack of opportunity."
"All of that is entirely true, Pattycakes. Nevertheless, uh. Your mother can be somewhat dewy-eyed."
Patty minded his ridiculing less when her mother was the butt of it.
"I mean, you saw those people," he said to her. "Jesus Christ. El ron me puso loco."
An important fact about Ray's family was that it had a lot of money. His mom and dad lived on a big ancestral estate out in the hills of northwest New Jersey, in a pretty stone Modernist house that was supposedly designed by Frank Lloyd Wright and was hung with minor works by famous French Impressionists. Every summer, the entire Emerson clan gathered by the lake at the estate for holiday picnics which Patty mostly failed to enjoy. Her granddad, August, liked to grab his oldest granddaughter around the belly and sit her down on his bouncing thigh and get God only knows what kind of little thrill from this; he was certainly not very respectful of Patty's physical boundaries. Starting in seventh grade, she also had to play doubles with Ray and his junior partner and the partner's wife, on the grandparental clay tennis court, and be stared at by the junior partner, in her exposing tennis clothes, and feel self-conscious and confused by his ocular pawing.
Like Ray himself, her granddad had bought the right to be privately eccentric by doing good public legal works; he'd made a name for himself defending high-profile conscientious objectors and draft evaders in three wars. In his spare time, which he had much of, he grew grapes on his property and fermented them in one of his outbuildings. His "winery" was called Doe Haunch and was a major family joke. At the holiday picnics, August tottered around in flipflops and saggy swim trunks, clutching one of his crudely labeled bottles, refilling the glasses that his guests had discreetly emptied into grass or bushes. "What do you think?" he asked. "Is it good wine? Do you like it?" He was sort of like an eager boy hobbyist and sort of like a torturer intent on punishing every victim equally. Citing European custom, August believed in giving children wine, and when the young mothers were distracted with corn to shuck or competitive salads to adorn, he watered his Doe Haunch Reserve and pressed it on kids as young as three, gently holding their chins, if necessary, and pouring the mixture into their mouths, making sure it went down. "You know what that is?" he said. "That's wine." If a child then began to act strangely, he said: "What you're feeling is called being drunk. You drank too much. You're drunk." This with a disgust no less sincere for being friendly. Patty, always the oldest of the kids, observed these scenes with silent horror, leaving it to a younger sibling or cousin to sound the alarm: "Granddaddy's getting the little kids drunk!" While the mothers came running to scold August and snatch their kids away, and the fathers tittered dirtily about August's obsession with female deer hindquarters, Patty slipped into the lake and floated in its warmest shallows, letting the water stop her ears against her family.
Because here was the thing: at every picnic, back up in the kitchen of the stone house, there was always a bottle or two of fabulous old Bordeaux from August's storied cellar. This wine was put out at Patty's father's insistence, at unknown personal cost of wheedling and begging, and it was always Ray who gave the signal, the subtle nod, to his brothers and to any male friend he'd brought along, to slip away from the picnic and follow him. The men returned a few minutes later with big bubble-bowled glasses filled to the brim with an amazing red, Ray also carrying a French bottle with maybe one inch of wine left in it, to be divided among all the wives and other less favored visitors. No amount of pleading could induce August to fetch another bottle from his cellar; he offered, instead, more Doe Haunch Reserve.
And it was the same every year at Christmastime: the grandparents driving over from New Jersey in their late-model Mercedes (August traded in his old one every year or two), arriving at Ray and Joyce's overcrowded ranch house an hour before the hour that Joyce had implored them not to arrive before, and distributing insulting gifts. Joyce famously, one year, received two much-used dish towels. Ray typically got one of those big art books from the Barnes & Noble bargain table, sometimes with a $3.99 sticker still on it. The kids got little pieces of plastic Asian-made crap: tiny travel alarm clocks that didn't work, coin purses stamped with the name of a New Jersey insurance agency, frightening crude Chinese finger puppets, assorted swizzle sticks. Meanwhile, at August's alma mater, a library with his name on it was being built. Because Patty's siblings were outraged by the grandparental tightfistedness and compensated by making outrageous demands for parental Christmas booty — Joyce was up until 3 a.m. every Christmas Eve, wrapping presents selected from their endless and highly detailed Christmas lists — Patty went the other way and decided not to care about anything but sports.
Her granddad had once been a true athlete, a college track star and football tight end, which was probably where her height and reflexes came from. Ray also had played football but in Maine for a school that could barely field a team. His real game was tennis, which was the one sport Patty hated, although she was good at it. She believed that Björn Borg was secretly weak. With very few exceptions (e.g., Joe Namath) she wasn't impressed with male athletes in general. Her specialty was crushes on popular boys enough older or better-looking to be totally unrealistic choices. Being a very agreeable person, however, she went on dates with practically anybody who asked. She thought shy or unpopular boys had a hard life, and she took pity on them insofar as humanly possible. For some reason, many were wrestlers. In her experience, wrestlers were brave, taciturn, geeky, beetle-browed, polite, and not afraid of female jocks. One of them confided to her that in middle school she'd been known to him and his friends as the She-Monkey.
As far as actual sex goes, Patty's first experience of it was being raped at a party when she was seventeen by a boarding-school senior named Ethan Post. Ethan didn't do any sports except golf, but he had six inches of height and fifty pounds on Patty and provided discouraging perspectives on female muscle strength as compared to men's. What he did to Patty didn't strike her as a gray-area sort of rape. When she started fighting, she fought hard, if not too well, and only for so long, because she was drunk for one of the first times ever. She'd been feeling so wonderfully free! Very probably, in the vast swimming pool at Kim McClusky's, on a beautiful warm May night, Patty had given Ethan Post a mistaken impression. She was far too agreeable even when she wasn't drunk. In the pool, she must have been giddy with agreeability. Altogether, there was much to blame herself for. Her notions of romance were like Gilligan's Island: "as primitive as can be." They fell somewhere between Snow White and Nancy Drew. And Ethan undeniably had the arrogant look that attracted her at that point in time. He resembled the love interest from a girls' novel with sailboats on the cover. After he raped Patty, he said he was sorry "it" had been rougher than he'd meant "it" to be, he was sorry about that.
(Continues…)
Excerpted from "Freedom"
by .
Copyright © 2010 Jonathan Franzen.
Excerpted by permission of Farrar, Straus and Giroux.
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