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Summary
Summary
From the PEN/Faulkner Award-winning author of The Great Man , a scintillating novel of love, loss, and literary rivalry set in rapidly changing Brooklyn.
The Astral is a huge rose-colored old pile of an apartment building in the gentrifying neighborhood of Greenpoint, Brooklyn. For decades it was the happy home (or so he thought) of the poet Harry Quirk and his wife, Luz, a nurse, and of their two children: Karina, now a fervent freegan, and Hector, now in the clutches of a cultish Christian community. But Luz has found (and destroyed) some poems of Harry's that ignite her long-simmering suspicions of infidelity, and he's been summarily kicked out. He now has to reckon with the consequence of his literary, marital, financial, and parental failures (and perhaps others) and find his way forward--and back into Luz's good graces.
Harry Quirk is, in short, a loser, living small and low in the water. But touched by Kate Christensen's novelistic grace and acute perception, his floundering attempts to reach higher ground and forge a new life for himself become funny, bittersweet, and terrifically moving. She knows what secrets lurk in the hearts of men--and she turns them into literary art of the highest order.
Author Notes
Kate Christensen lives in Brooklyn, New York.
Reviews (4)
Publisher's Weekly Review
Like the rapidly gentrifying Brooklyn of its setting, Christensen's unremittingly wonderful latest (after Trouble) is populated by an odd but captivating mix of characters. At the center is Harry Quirk, a middle-aged poet whose comfortable life is upended one winter day when his wife, Luz, convinced he's having an affair, destroys his notebooks, throws his laptop from the window, and kicks him out. Things, Harry has to admit, are not going well: their idealistic Dumpster-diving daughter, Karina, is lonely and lovelorn, and their son, Hector, is in the grip of a messianic cult. Taking in a much-changed Greenpoint, Brooklyn, while working at a lumberyard and hoping to recover his poetic spark, Harry must come to terms with the demands of starting anew at 57. Astute and unsentimental, at once romantic and wholly rational, Harry is an everyman adrift in a changing world, and as he surveys his failings, Christensen takes a singular, genuine story and blows it up into a smart inquiry into the nature of love and the commitments we make, the promises we do and do not honor, and the people we become as we negotiate the treacherous parameters of marriage and friendship and parenthood. (June) (c) Copyright PWxyz, LLC. All rights reserved.
Booklist Review
The latest by Christensen (The Great Man, 2007) introduces wordy poet-narrator Harry Quirk as a man on the brink of losing his wife, Luz, who kicked him out and destroyed every trace of his latest manuscript, and thusly his entire life in the Astral, the giant old memory-cavern of a building in Brooklyn where they've spent their lives together. Luz, wrongly convinced Harry's been sleeping with his female best friend, is irate and implacable despite Harry's earnest attempts to prove his innocence and continued love for her. Homeless, jobless, and disbelieved by most everyone, Harry begins to take charge of his life in a way he clearly never had to before, getting a crummy job and committing to, with his daughter, rescuing his son from the apparent cult he's joined. A developed cast of characters, not the least of which is Brooklyn itself, populates the narrative, and it comes as somewhat of a relief when Harry realizes he'. become unspeakably, pun intended, bored by the sound and sight of my own poetic voice. A satisfying redoing of a man undone.--Bostrom, Anni. Copyright 2010 Booklist
New York Review of Books Review
The wife of Kate Christensen's hero throws him out for adultery he never committed. LATELY the realist novel's been getting realistic. Originally developed in response to a highfalutin form gone stale, realism has a long and glorious tradition of extraordinary yarns about ordinary people. But the name "realism" was never quite right. Authors as disparate as Mark Twain, Émile Zola and Edith Wharton are called "realists," which would be fitting if you spent your adolescence drifting down the Mississippi, worked out your love problems by drowning your rival and attempted suicide by sled. In later years, however, realism has been tailored to more closely fit its title, and it now largely relates the tales of ordinary people not in extraordinary circumstances but in ordinary ones. Modernism basically started this off, with a man bumming around Dublin or a woman buying flowers for a party serving as a framework for far-flung experiments of language and consciousness. There have been wonderful, wonderful books of modern realism - I'd like to pause here to light a candle for the much missed Laurie Colwin - but it's tricky to pull off. Kate Christensen's new novel, "The Astral," is an object lesson on the current realist novel, with its pitfalls and pleasures both as clear as the book's unsentimental vision. "The Astral" is about Harry Quirk, a poet whose wife suspects him, incorrectly, of having an affair. She throws him out of their apartment and destroys his work in progress, sending Quirk into the streets of Brooklyn. He walks the neighborhoods. He drinks at bars. And he checks in with friends and family, who all have problems of their own. His best friend (and supposed lover) is a widow learning to move on. His daughter has become a freegan, meaning she Dumpster-dives for food and furniture, and his son has joined a Christian cult. Quirk gets a job, and then another one; he gets an apartment, and then another one; and he misses, first fiercely and then less so, his seething wife. This is the plot, such as it is, but plot's not really the point here. "The Astral" is structured as a journey - a poet's trip through an interior and exterior landscape - and Christensen manages each step with quiet deliberation: "I walked with my head down toward Greenpoint Avenue. It was slightly warmer out here than it had been the night before, and the wind had died away to nothing. A bird chirped from God knew what tree. A cat slunk through the gutter past me, intent on breakfast. Bird and cat and I were alone out here, greeting the day together." The language is like this throughout - plain, plain, plain - and it's nice to see an interior novel that reins it in a little. But as I often feel on Greenpoint Avenue, I'm not sure where we're going, exactly. I like that bird in "God knew what tree." But in so careful a paragraph, what's with the flat, extraneous phrases like "the wind had died away to nothing" or that "intent on breakfast," tucked unnecessarily into that lone, stark cat? It may be nitpicky to dwell on the description of the landscape when Christensen's attention is elsewhere. The novel's title, for instance, is taken from the name of the apartment building where Quirk and his wife have lived. But the author makes no hay with its metaphorical, metaphysical implications. Instead, the book tracks Quirk's internal journey. His primary concern is his wife, Luz, who he tells us early on "has a cold, impeccable exterior inside which beats a soul as fragile and silken and easily crushed as a baby mouse. The contradiction is lethal, maddening and lovely." (Fragile and easily crushed? Stop nitpicking.) Toward the close of the novel, when he and Luz finally have a substantial conversation, he's more blunt: "I finally got it through my head that you're a controlling, closed-off, lethally angry bitch, and nothing I do is ever going to please you." Moving from "lethal" to "lethally" doesn't seem like he's traveled so far. Of course, it is usually the case in a first-person narrative that there's some distance between what is actually going on and what the narrator tells us. But nowhere in "The Astral" does Christensen give us anything to indicate we should take Quirk's narration at anything other than face value. It's bracing, at a time swimming with unreliable narrators, to have a narrator who is consistently reliable, but after a while one can't help wondering where the narrative tension is supposed to come from. "She was a common blue-eyed blonde of a type I'd never found appealing," Quirk says of another character, "self-serious but not intelligent, self-possessed but not noble, charismatic but not profound," and there's nothing to tell us otherwise. Christensen has Quirk say that not to indicate anything about his state of mind, but because the woman in question is, in fact, all of those adjectives. With every stop on the journey, Christensen adopts this strategy, backgrounding plot and character elements in favor of ordinary statements we're meant to take as plain truth. Quirk meets a new woman only to hear her say, "Women want attention, we want closeness, whether we admit it or not." He sees his son perform in a cult ritual only to be told, "I was a soul in the wilderness, crying out, and now I've found my true home." And when Quirk and his supposed lover, Marion, meet for drinks, to talk over his shattered marriage and their own fraught friendship, this is what they have to say: "'You think we were afraid of each other?' "'We were afraid of ourselves.' "'Who's writing this dialogue?' I said. Neither of us laughed. Our new pints of foamy beer arrived. We each took a good pull and set them back down at the same identical instant. 'Have we talked enough about this?' I said. "'Not quite,' she said." It is indeed realistic that they'd keep talking, as barroom conversations tend to ramble on. But in a novel it feels distancing. And so, to close the gap between myself and the people I was reading about, I finished "The Astral" in a bar. The last 50 pages ran a little smoother, and the final scene - stark and disconnected from the narrative, without Quirk telling us what he thinks of it - had a rosy glow I wish I'd found more of in the rest of the book. Still, though, that glow was probably my second bourbon. I'm used to thinking of novels as inducing their own enchantments, rather than enhancing the ones we already have with us. But by its very nature, the realist novel believes that we are, all of us ordinary people in our ordinary lives, enchanted already. I believe this too, which is why I like to stop reading from time to time and look around at my circumstances. But then when I open a novel, I expect something other than the ordinary circumstances that already surround me, be it in language or story. I think most readers do. To expect otherwise, as Christensen does in "The Astral," seems a little, well, unrealistic. The narrator's estranged wife has a soul 'as fragile and silken and easily crushed as a baby mouse.' Daniel Handler is the author of the novel "Adverbs" and, as Lemony Snicket, "A Series of Unfortunate Events."
Kirkus Review
Christensen (Trouble, 2009, etc.) knows her way around aging characters. Having won the PEN/Faulkner Award for her lively septuagenarians inThe Great Man (2007), she now creates a charmingly ribald bohemian poet flailing about in late middle age.The title refers to the apartment building where Harry Quirk and his wife Luz, a devoutly Catholic Mexican nurse, have lived in Greenpoint, Brooklyn, for all of their 30-year marriage. Now Luz has kicked Harry out and burnt his latest manuscript of poetryeschewing popular trends, he writes in rhyme and meterbecause she thinks his love poems are proof that he's been carrying on an affair with his friend Marion. Righteously claiming the poems are written to an imaginary woman, he fights hard to convince Luz of his fidelity and win her back. Meanwhile, he hangs out in his Greenpoint neighborhood, finds work at a Hasidic lumberyard where he's the only non-Jew, drinks at his local bars, visits Marion and discusses why they have never been and never will be lovers and moves from living space to living space until he ends up staying with his daughter Karina, a 25-year-old vegan dumpster-diving activist. He and Karina make visits to Karina's older brother Hector, always Luz's favorite, who has abandoned her Catholicism and joined a Christian cult led by a sexy charlatan who plans to marry Hector. While Harry wanders through his days, drinking, conversing, picking fights, trying to talk to Luz, who says she wants a divorce and won't see him, his Brooklyn world of aging bohemians comes vividly to life. There's not a lot of active plot here, but each minor character is a gem. As for Harry, by the time he faces the truth about his marriage and finds a measure of hard-earned happiness, or at least self-awareness, he has won the reader's heart. He's a larger-than-life, endearing fool.A masterpiece of comedy and angst. Think Gulley Jimson of Joyce Cary'sThe Horses Mouthtransported from 1930s London to present-day Brooklyn.]] Copyright Kirkus Reviews, used with permission.
Excerpts
Excerpts
Chapter One Toxic water streamed with gold like the belly of a turning fish: sunset over Newtown Creek. Tattered pinkish-black clouds blew overhead in the March wind. The water below me rippled with tendons and cowlicks. Just across the brief waterway were the low mute banks of Hunters Point, church spire, low-slung old warehouses. An empty barge made its way down the creek toward the East River and the long glittering skyscrapery isle. I stood behind the chain-link fence the city had slapped up to keep the likes of me from jumping in. I was hungry and in need of a bath and a drink. At my back thronged the dark ghosts of Greenpoint, feeding silently off the underwater lake of spilled oil that lay under it all, the polyfluorocarbons from the industrial warehouses. I had named this place the End of the World years ago, when it was an even more polluted, hopeless wasteland, but it still fit. As I stood staring out through the webbing of fence, my mind cast itself through the rivulets of my own lost verse. I netted little flashes of lines and phrases I'd been reworking, "Held spellbound, your mollusk voice / Quietly swathing my cochlea / In tentacles of damask cloth" and "Slow-weathered verdigris of our once bronzed thighs," but they sounded dead to me now. All I could really hear was Luz, Luz, Luz like the feeble pulsing signals of a dying heart. Heartache was a physical thing, a pain in my chest, a sort of recoiling tension with an ache like a bruise. There was a withheld quality to my breathing lately, as if I had been sucker punched and was waiting to get my wind back, but no wind came. I could remember whole published poems, but if these new, destroyed verses still existed in my brain, they fled from the webbing of my memory like darting schools of tiny fish, scooching away the instant before capture. I turned away from this butt end of waterfront warehouses and walked back the way I'd come, along Manhattan Avenue, past the flophouse where I lived now, bare mattresses piled in the front window. I passed junk shops full of old radios, used dolls, and cowboy shirts, Goldsholle and Garfinkel Inc., Mexican bodegas, liquor stores, the abandoned hulk of JK Restaurant Supply with its twisted metal grate, small markets with root vegetables in boxes along the sidewalk, butchers' shops festooned with loops of kielbasy. I went through the intersection at Greenpoint Avenue, the dingy McDonald's, defeated Starbucks, opposing Arab newsstands, and on to the old Associated Supermarket with its sexy Polish girls pouting at nothing as they rang up your groceries. The outdoor clock at the Smolenski Funeral Home was permanently stopped at 6:30, both hands pointing straight down to hell. I hung a right off Manhattan Avenue and aimed myself toward the glowing neon sign in the window of Marlene's, one of the last local old-man bars. Was I an old man yet, at fifty-seven? I'd been going there for years. The place had rusty tin ceilings, original wainscoting, two-dollar drafts in small, icy mugs, and moose antlers. The one concession to the new millennium was a flat-screen the size of a small car. "Hello there, Harry," said George as I came in. The most deadpan voice I have ever heard. If he has any feelings that cause him to lie awake wracked with turmoil in the small hours of the morning, he's not telling. What he'll do is pour you a grudging whiskey finger for three bucks. Never a double; that's not the way they do things at Marlene's. George has a pocked face the color of gray chalk, a thin colorless wavelet of hair pasted to his scalp, and small protruding eyes. He has a day job at the Acme Smoked Fish warehouse on Gem Street, but he moonlights, so to speak, at Marlene's, for the social life it affords him; otherwise he would have none, he once confided in me with endearing frankness. Marlene is his sister. I parked myself on a stool midway down the empty bar. George handed me a whiskey and I swallowed it whole and felt a little warmer. My mother was Irish, my father English, but whiskey unites my opposing factions; I like the smokier, pricier, older single malts, but the cheap blended brands do the job just the same. "How are things, George?" I asked as he set my second whiskey before me. "Never better," he said. "Yourself, Harry?" I looked him in the eye. "Never better." Marlene's opens every day before noon and closes in the very early morning and is almost always populated by its regulars, most notably several local women who park themselves in a row at the bar and settle in for the duration like birds on a wire, smoking and kibitzing and getting shitfaced. But here George and I were tonight with the place to ourselves, separated by a barrier of scuffed wood, he serving, me drinking, a scenario that plays itself out everywhere, all the time, two lonely men doing some manner of business together, not quite making eye contact. "Couldn't find the remote the other night," said George. "Looked for it everywhere, all over my apartment. High and low. Even tried the freezer." "What were you watching?" "One of my programs," he said. "The one with the doctors. So I'm looking for it and the phone rings. I go to pick up the phone and press the remote and say, Hello? So there was the remote. Then I couldn't find the phone. Finally found it on top of the fridge where I left it when I was looking for the remote. Sometimes it seems like the world is playing a joke." "And it's not always funny," I said. "By the way, Luz threw me out." "What? She did? When was this?" He looked truly shocked. Long-term marriages apparently appear as permanent to others as geographical formations; when one dissolves, it's as if Fuji or Fiji had disappeared overnight. "Not too long ago," I said. "Well," he said, "that's tough. That's just tough. So where you living now?" "I'm renting a room in the hotel down by Newtown Creek." He cocked his head and set another whiskey in front of me. "This one's on me." "Thanks, George." I lifted my glass. "'Blindly we lurch through life like crones / Plying high heels on the cobblestones.'" That was from one of my old poems, the ones that were as accessible to my memory as my own name. "Sure," he said. He was used to my delusions that I was the neighborhood bard. He folded his arms and looked down at the scuffed surface of the bar. "Those cobblestone bricks down on West Street are made of wood, not clay, did you know that?" "Near Noble Street," I said. "You can see the tree rings in them if you look closely. I wrote a poem about it. 'Frets, concentric, fraught with letters from old clouds.'" "I was afraid they'd catch fire when the Terminal Market went up a few years back." "Me too," I said. "I kept thinking, if the wind were blowing inland, the whole neighborhood would catch. It would have happened so fast--a piece of burning ash falling just so." I had watched the grand old warehouse burn with Luz beside me, both of our faces pressed to the same windowpane. George shot me a look. "Right, you live in the Astral," he said. "That must have been scary." "Used to." "That's right," said George, the tip of his tongue swiping at his upper lip. "Maybe you're better off out of that place. I hear there's mushrooms growing in the bathrooms and bedbugs living in the furniture. I hear the super has a photo studio in the basement where he takes pictures of young Asian girls." He said this last without a whiff of salaciousness. George seems to have excised the sexual part of his brain as a way of keeping his life simple. Smart man. The door opened, and Karina entered and charged down the bar toward me. "Hi, Dad!" she said. "I thought you'd be here. I wish you would get a cell phone." "Why do I need one?" I asked as she kissed me on the cheek. "You know where to find me." "I'll have a draft, please," she told George, then said to me, "I've been worried about you. How are you?" "Never better," I said hopefully, but I already knew she wasn't having any of it, and anyway, I was flattered by her concern. My daughter had just turned twenty-five, but unlike other girls her age, she was totally uninterested in anything beyond a narrow range of severely ascetic passions, the most intense of these being Dumpster diving, colloquially known as freeganism. She regularly foraged for and redistributed quantities of garbage, or rather "perfectly good food and clothing," to "the poor," of which I was now, come to think of it, one. In addition to trying to save the world from its proliferation of waste and to save the poor from deprivation, she has never been able to shake the notion that she's solely responsible for the well-being of her family. Karina's coloring is like mine, pure English/Irish, reddish-haired, fair-skinned, blue-eyed, rather than her olive-skinned, black-haired, dark-eyed Mexican mother's, but her face looks so much like Luz's--oval shape, large eyes, blunt nose, a quiveringly focused expression like an alert animal's--it pierced my heart just then to look at her. "Come on," she said. "Tell the truth." "The truth," I told her as she took a swig of bitter foam, "is that life goes on, like it or not, till you croak." "Oh Dad," she said without appearing to have heard me, "I wish you would come and live at my place. That hotel is a death trap. Guys knife each other in the hallway." "Thank you," I said with a brief internal quailing. Had it come to this, that my own daughter thought I was incapable of taking care of myself? Of course it had; she had thought that since the day she was born, and she was right. "Thank you, Karina, but really, I'm all right." "I have that extra little room," she said, bossy and insistent. "When is the last time you heard from your brother?" "Hector? He never calls me." "I haven't been able to contact him for a while. The only number I have for him is some sort of public telephone, and no one seems to be willing to go and fetch him when I call. He's always in some sort of meeting or working or asleep." "Why are you trying to call him? You never call me." "Because I'm worried about him, and I'm not worried about you." "You can't call just to say hi? Look, I came all the way over to Greenpoint to track you down. And Hector can't even bother to come to the friggin' phone." "I'm worried about him," I repeated, "and I'm not worried about you." She laughed. "Okay, okay. But come on! He's probably just busy." She took another sip of beer. "Dad, please come and stay at my place. Please. You're living with junkies and vagrants and lunatics. It's dangerous." "I like it there," I said. "It suits my purposes for now. I don't want to move all the way to Crown Heights. That's not my neighborhood. I don't know anyone there, and it's too far from Marlene's, but thanks for the offer." "Then please get a cell phone. I have a heap of cast-off phones in a drawer, so all you need is a cheap monthly plan. Or pay as you go." "I don't have any money," I said. "Have you seen your mother lately?" "I just came from there. She needed help getting rid of some things." "My things," I said without inflection. "Well, she says you don't want them." "I want them," I said, "to stay right where they are, waiting for me to live among them again." This put an end to our conversation for a moment. Behind me on the enormous flat-screen, a coiffed Latina in a blue jacket looked directly into the camera and with plush red lips intoned the goings-on of today's world with cool, sultry authority. She reminded me of Luz. But everything reminded me of Luz right now, even the moose antlers above the bar. They made me think of our twentieth-anniversary trip; there had been moose antlers over our bed in the Adirondacks cabin we'd rented for a week. Luz had asked me to take them down and put them in a closet, or better yet, outside where they belonged. They were disgusting, she said; they were cruel. That I hadn't done so, on the grounds that it was not my place to redecorate property belonging to others, was ranked thereafter in her hypothetical marital black book as one of my offenses. At least, I had always assumed it was hypothetical. Maybe she had written it all down somewhere. If so, I wondered what she would do with her compendium now that it was all over. Sell it at a stoop sale? Publish it as an antimarriage manifesto? "Oh, well," I said, "never mind about that. Will you come with me to visit Hector tomorrow?" Karina lifted up her glass and looked into her beer as if it were piss, then set it down again. "I have a lot to do tomorrow." "Come with me," I said. "The garbage will wait." "It's not that. I have a deadline. I'm writing an article for an online magazine. It's going to take all day because I spent this afternoon tracking my parents down and making sure they were all right." I said before I could stop myself, "So your mother is all right." "Of course she is," said my daughter. "She'd be all right in a nuclear war. But underneath, you know." "I know," I said. I was too sad to say any more. George had moved down to the far end of the bar and was concentrating on the TV news, or seeming to, while he busied himself with a pinkie fingertip, pulling wax from his ear. I motioned to him, caught his eye, pointed to my whiskey glass. He nodded and made his way down the bar with the bottle. "Dad, I think this whole thing is horrible," said Karina. "I'm not taking sides, I swear, I love you both, and it's none of my business. But is it true you're involved with Marion? No, don't tell me. I don't want to know." "Is that what your mother told you?" "Well, it's classic. Men usually have affairs with the women they're closest to. Their female friends, their wives' sisters or best friends, their co-workers, their friends' wives . . ." To mask my horror that Luz would tell our daughter this, I grinned at Karina. "How do you know so much about men's extramarital affairs? You're a lesbian. And you're not married." Excerpted from The Astral by Kate Christensen All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.
