Danielle, a junior television producer, is on the hunt for the documentary idea that will make her reputation; Marina, the beautiful daughter of a famous and wealthy liberal journalist and intellectual, is desperate to prove her worth - while unsure exactly of how this is to be achieved; Julius, a freelance writer of devastating book reviews, is ...
Danielle, a junior television producer, is on the hunt for the documentary idea that will make her reputation; Marina, the beautiful daughter of a famous and wealthy liberal journalist and intellectual, is desperate to prove her worth - while unsure exactly of how this is to be achieved; Julius, a freelance writer of devastating book reviews, is determined to live a fabulous Manhattan lifestyle on a budget of nothing at all. "The Emperor's Children" follows these three friends - and their overlapping social and family circles - through their day-to-day lives, their perceived struggles and successes and their constant search for meaning and authenticity. Sweeping in scope, minutely perceptive about the nuances of Manhattan life, with richly drawn characters and vivid prose, "The Emperor's Children" is a finely textured portrait of a particular place at a particular moment - and a haunting illustration how the events of a single day can change everything, for ever. It reveals Claire Messud as a novelist in bloom, writing at the height of her powers.
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this book has nothing that inspired me... it was boring, tedious and the characters were poor. i didn't care for the characters and their lives... i read this book because i had to.
May 8, 2008
Like its characters, a hollow thing of beauty
I wanted to read this book after I heard an interview with the author describing her process of writing this book. Apparently, she had come to a point with the characters and the story which she did not know how to get past. She, in fact, started to dislike all the characters and to find them deluded and filled with an inflated sense of their own importance. She was considering not finishing the novel at all. Then came September 11, 2001.
After the terrorist attacks, many people began to reevaluate their lives and work to find more meaning in them than ever before. The author wanted to give these characters that same opportunity for reflection and reinvention, so she wrote the real-life event into the book.
I have to say, while I found the book extremely ambitious and beautifully-written, I'd have liked it much more if the 9/11 interruption had come more in the middle of the book than at the end. Unfortunately, I found all of the characters shallow and unsympathetic, and the catharsis of the terrorist attack came too late for them to find redemption, in my opinion. I can certainly appreciate what Messud tried to do, but she didn't pull it off to my satisfaction.
Aug 29, 2007
Plenitude and Privilege
"Culture follows money," F. Scott Fitzgerald once wrote. Claire Messud's novel, The Emperor's Children traces the intersecting lives of three friends who met as students at an Ivy League university, their relationships and careers as they negotiate the heady upper reaches of New York society, and the irrevocable changes wrought by the September 11, 2001 terrorist attacks. They are altered as well by Frederick "Bootie" Tubb, Murray's nephew, who insinuates himself into their rarefied sphere, a college dropout and autodidact persuaded of his own genius. It is a novel of manners in the Wharton and James mode, but the title implies both privilege, royal lineage, and, after the adage, "The emperor has no clothes," an unmasking of illusions.
The novel opens at a posh party in Australia, where Danielle, a TV producer, meets Ludovic Seeley, a Rupert Murdoch-like media magnate, and closes on a note of ambiguity and equivocation as, I think, any post-9/11 novel should. The other two friends are Marina, aspiring writer-daughter of celebrated leftist journalist Murray Thwaite, a beauty perenially in his shadow, and Julius, a gay Eurasian freelance critic desperately on the make.
The author writes a knowing, incisive, satirical prose about the machinations and transgressions of her thirtysomething characters. She has much to say about hypocrisy, Machiavellian ambition, the linkage of desire and need, of lust and family. The climactic scenes of a city in chaos have a cinematic sweep to them.
In fact the novel's climax turns heavily on the events of 9/11, which for a moment "democratized" our city and nation, even the globe, in the electronic interconnectedness of tragedy. Thus, it's striking and somewhat disappointing to this reader, that Messud's novel doesn't have a more Dickensian scope in its depiction of that terrible day and its aftermath. With the exception of scenes set in Brooklyn's Fort Greene neighborhood and the plot strand of lawyer Annabel Thwaite's young black client, the socially marginal and the underclass are largely expunged from the book. Messud's representation of a money-driven celebrity culture in which surface appearance is all is surely accurate, but it's dismaying to see it nonetheless.
The novel also lacks the recognition of the disastrous consequences of class and social aspiration that one sees in Lily Bart's fall from grace in Edith Wharton's novel The House of Mirth, and Henry James' profound sense of human evil (the terrorists in Messud's book are an unknowable abstraction).
In addition, because The Emperor's Children is a novel of manners, there has to be some correspondence to an actual social world. Does a real-life figure comparable to Murray Thwaite exist? Noam Chomsky, a professor of linguistics at MIT and ferocious critic of U.S. foreign policy, may come closest. Of course Thwaite is meant to be a figure of hypocrisy, so it's possible that the author is suggesting that mendacity isn't restricted to any ideology. But it could be argued that Seely, in his devious Napoleonic splendor and his megalomaniacal desire to set the social agenda, is a more ominous figure.
One last reservation: the characters lack any true sense of mortality (their own and others) as they approach their thirtieth year. They are insulated by their plenitude and privilege. Surely most Americans are not wholly ignorant of death by that age. Messud intends to prefigure the sobering effects of 9/11 upon them, but nevertheless their naivete astonishes me, and their preoccupation with the superficial disallows the main characters, even Danielle, arguably the most sympathetic of the three, from having much of an interior life.
"The Emperor's Children is a tour de force that brings to life a city, a generation," says the jacket description, "and the way we live in this moment. The following is from a August 29, 2007 New York Times editorial entitled "A Sobering Census Report: Americans' Meager Income Gains": "The median household income last year was still about $1,000 less than in 2000, before the onset of the last recession. In 2006, 36.5 million Americans were living in poverty--5 million more than six years before, when the poverty rate fell to 11.3 percent.
It seems a fair question to ask to whom the "we" refers in the novel's dust jacket.
Jul 26, 2007
Relationships & Adult Children
Well worth the time to read this. Makes for interesting character and contemporary culture analysis.
Jul 8, 2007
A beautiful, complex novel
Claire Messud has crafted a deliberate, taut novel that reflects the inner worlds of several interconnected characters living in a world that is too enameled and artificial (until it comes tumbling down). One of the best novels to capture American society and 9/11.
Publishers Weekly, 2006-05-08 Marina Thwaite, Danielle Minkoff and Julian Clarke were buddies at Brown, certain that they would soon do something important in the world. But as all near 30, Danielle is struggling as a TV documentary maker, and Julius is barely surviving financially as a freelance critic. Marina, the startlingly beautiful daughter of celebrated social activist, journalist and hob-nobber Murray Thwaite, is living with her parents on the Upper West Side, unable to finish her book-titled The Emperor's Children Have No Clothes (on how changing fashions in children's clothes mirror changes in society). Two arrivals upset the group stasis: Ludovic, a fiercely ambitious Aussie who woos Marina to gain entr?e into society (meanwhile planning to destroy Murray's reputation), and Murray's nephew, Frederick "Bootie" Tubb, an immature, idealistic college dropout and autodidact who is determined to live the life of a New York intellectual. The group orbits around the post-September 11 city with disconcerting entitlement-and around Murray, who is, in a sense, the emperor. Messud, in her fourth novel, remains wickedly observant of pretensions-intellectual, sexual, class and gender. Her writing is so fluid, and her plot so cleverly constructed, that events seem inevitable, yet the narrative is ultimately surprising and masterful as a contemporary comedy of manners. 100,00 announced first printing; author tour. (Sept. 4) Copyright 2006 Reed Business Information.
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