I don’t always let out a squeal of delight when the new-books
cart rolls out of the staff room, but when I do, you can be assured that one of
my favorite novelists has finally released something new (I seem to be drawn to
authors who frustratingly eke out only about one book every four years). Such was the case with Johnathan Franzen’s
(National Book Award Winner for The
Corrections) newest novel Purity. The novel starts out a little slow, with the first-person,
present-day account of its nominal character.
Young Purity, a college debt-laden idealist, squatting in a foreclosed
house, working for a seedy company, and in love with a married man; hardly
comes across sympathetically. But the
real beauty of a Franzen novel is its open invitation to the reader: the
characters seem to encourage scorn and judgement in much the same way that Evanovich’s
court the approbation of the middle-classed and middle-aged. It isn’t until about 100 pages in that Franzen’s
true genius becomes apparent. It happens in that moment where you find yourself
rooting for this poor schmuck whom you’ve spent the better part of the early
chapters disdaining. Purity, who goes by
Pip, fortuitously meets up with a German tourist, who inexplicably recommends
her for an exclusive internship with the world-famous Sunlight Project. The
project (a global whistle-blowing affair), developed and overseen by the enigmatic
Andreas Wolf, begins to seem evermore an attractive escape as Pip’s prospects
at home, the dead-end job, self-destructive romances, and a needy and secretive
mother, turn ever more disappointing.
The added incentive of regular student loan payments (frankly, that
alone would be enough to entice me to risk a bit of typhoid), and the promise
to help Pip discover the identity of her father, finally lure her to the
Sunlight Project’s gorgeous South American headquarters. Once there, Pip finds it increasingly
difficult to buy into the hero-worship of Andreas and at the same time,
perversely, finds herself oddly attracted to him. The novel’s cast then seamlessly expands to
include the first-person reflective of Andreas and a handful of additional
characters; all of whom contribute to make the novel absorbing and smart; such
that twists in the tale actually caught me off-guard because I wasn’t looking for them. I was simply content
to spend time with a group of people I had become fond of. Par for the course, Jonathan Franzen has once
again provided us with the anachronistic literary page-turner.
Jennifer Wilson