A.N. Dyer is an elderly Salinger-esque novelist, haunted by his coming of age novel Ampersand and it’s hero, Edgar Mead. Haunted also by his relationship with his own sons… the elder Richard and Jamie; and the much younger Andy. Haunted too by his lifelong friendship with Charlie Topping ,in part an inspiration for Ampersand, and whose funeral starts this novel.
Charlie’s death forces Andrew to face his own mortality and he convenes a family meeting to discuss the future for Andy, still a teenager.
The story is intermittently narrated by Phillip Topping, Charlie’s eldest son, a malevolent and very unreliable narrator. Phillip has discovered a store of letters and postcards from Andrew to Charlie when they were young men…..and crucially one from Charlie to Andrew.One of these is reproduced at the start of each of the eight sections……and so the background to Ampersand is revealed.
Meanwhile the relationships between Andrew and each of his sons unfold and we look, too,at the relationship an artist has with his creation.
This all sounds very intellectual but this is a very comic book . Not laugh out loud funny maybe but some very amusing observations , particularly of the world of publishing.
One of the funniest set pieces in the novel is a launch party thrown for the first book of the latest yet-to-be-discovered literary sensation….a spoiled little rich kid with zero self-awareness. Gilbert describes the gathered publicists,agents and novelists as :
....discussing new novels or retreats or conferences, yeah, yeah, Amazon, yeah, yeah, ebooks, sigh, Franzen.
There are also sideswipes at the world of film making and acting, with Richard’s unsuccessful attempt to sell the movie rights of Ampersand.As well as a look at the strange world of on-line success stories when a rather tasteless video of Jamie’s goes viral without him realising.
Other reviews I read of &Sons talked about Gilbert’s admiration for Nabokov and drew comparisons with Pnin, also intermittently narrated by someone with a grudge so I decided to read it as a companion piece.
Pnin tells the story of Timofey Pnin , a Russian emigre from the Revolution, who is now just about surviving as an academic in a lesser know US university. It was criticised when first published not being a novel at all but a stitching together of comic articles Nabokov had previously written for magazines like The New Yorker. It’s patchwork birth does show a little but it is , at best, a very funny early campus novel.
It has a circular structure and finishes exactly where it started.Much of the humour is derived from Pnin’s always incomplete grasp of the English language and it’s idioms. The now lost world of the Russian emigre is acutely observed. At times the writing is very moving.
A visit to a fellow emigre’s summer house and a discussion of Tolstoy’s Anna Karenina provokes a ‘ madeleine moment’ for Timofey. He is transported back to the innocence and beauty of a young love affair, with the horrible knowledge that the object of his affections was killed by the Nazis at Buchenwald. A truly heart rending memory that moved me to tears.
I would describe both these novels as near misses rather than direct hits BUT both are enjoyable and , at times, thought provoking reads. I am not sure I am any closer to answering the question of the author’s relationship to his creation. Any ideas?