Product Description

Oscar Feldman, the renowned figurative painter, has passed away. As his obituary notes, Oscar is survived by his wife, Abigail, their son, Ethan, and his sister, the well-known abstract painter Maxine Feldman. What the obituary does not note, however, is that Oscar is also survived by his longtime mistress, Teddy St. Cloud, and their daughters.

As two biographers interview the women in an attempt to set the record straight, the open secret of his affair reaches a boiling point and a devastating skeleton threatens to come to light. From the acclaimed author of The Epicure's Lament, a scintillating novel of secrets, love, and legacy in the New York art world.

Product Details

• Amazon Sales Rank: #64153 in Books
• Published on: 2008-05-13
• Released on: 2008-05-13
• Original language: English
• Number of items: 1
• Binding: Paperback
• 320 pages

Features

• ISBN13: 9780307277343
• Condition: NEW
• Notes: Brand New from Publisher. No Remainder Mark.
• Click here to view our Condition Guide and Shipping Prices

Review
“Kate Christensen’s brilliant, big-hearted skewering of greatness, of men, of the Manhattan art scene, of love, reminded me that books can be witty, and heartbreaking, and intelligent, and keep you up too late reading. How rare it is that a writer is talented enough to deliver such varied treasures in one novel, but Christiansen manages it effortlessly.”
—Heidi Julavits, author of The Uses of Enchantment

“The prose in this book is stunning; the characters fascinating, endearing, and utterly real. Kate Christensen is, quite simply, one of the finest artists writing today.”
—Cathi Hanauer, author of Sweet Ruin and editor of The Bitch in the House

Praise for The Epicure’s Lament:

“Christensen has created in Hugo [Whittier] an altogether appealing, irascible antihero, along the lines of Grady Tripp in Michael Chabon’s Wonder Boys or Doug Willis in David Gates’s Preston Falls.” —Publishers Weekly (starred)

“A mini-masterpiece . . . Hugo is one of the most memorable creations in recent fiction. His story is an exquisite meal served in literary, haute cuisine prose. Discerning palates will savor it.” —People

“Funny and aesthetically playful . . . Christensen beautifully handles this very male point of view, with a complexity of language and a set of intricate emotions (both hidden and revealed) that recall Nabokov’s Lolita.” —Elle

“Christensen gives a virtuoso performance, tossing off perfect sentences seemingly at random, delivering them with a sneer that makes them more delicious.” —Lev Grossman, Time

Review
“The Great Man is as unexpectedly generous as it is entertaining. . . . Wise and expansive. . . . Christensen is a witty observer of the art universe.”
—The New York Times

“Christensen's writing is clear-eyed, muscular, bitingly funny, and supremely caustic about the niceties of social relations, contemporary American culture, and sexual politics.”
—O, The Oprah Magazine

“These characters are wonderfully developed and break the stereotype of the aging female protagonist. Christensen . . . boldly has raised the bar.”
—USA Today

"Nimble, witty and discerning, Kate Christensen is single-handedly reinvigorating the comedy of manners with her smart and disemboweling novels of misanthropes, cultural and aesthetic divides, private angst, social ambition and appetites run amok."
—Chicago Tribune

About the Author
Kate Christensen is also the author of the novels In the Drink, Jeremy Thrane, and The Epicure's Lament. Her essays and articles have appeared in various publications including Salon, Mademoiselle, The Hartford Courant, Elle, and the best-selling anthology The Bitch in the House. She lives in Brooklyn with her husband.

Customer Reviews

A REMARKABLE NOVEL - RICH WITH WIT AND KEEN OBSERVATIONS



A cursory glance at the title indicates that this is a book about a man. It is, and it isn't. Of course, the man of the title, Oscar Feldman, rather the late Oscar Feldman, a figurative painter, plays a role. But the starring parts are given to three women, Teddy, his mistress; Abigail Feldman, his widow; and Maxine Feldman, his sister. Each is being interviewed by two biographers who hope to tell Oscar's true story.

According to his obituary, Oscar died at the age of 78 after a prodigious career, which was totally devoted to the painting of female nudes. He remained apart from others in the artistic world, and once wrote, "The female body is the ultimate expression of truth and beauty..." His works were characterized by bold brush strokes, and came to be highly collectible.

After reading this, one can easily see why two biographers, Henry Burke and Ralph Washington, were intrigued, determined to find out the truth about Oscar Feldman. What better place to start than with his mistress, Teddy?
Now 70-some she is still an attractive woman, angular with chin length white hair and a ready wit. She's a bit of a tease and gives her friend, Lila, a start when she admits "I wouldn't mind seeing my old carcass in bed with a nubile forty-year-old body." She's come to terms with who she is now and what her life has been. She gave birth to Oscar's twin daughters, Ruby and Samantha, and basically raised them alone. Yet, she loved Oscar, enjoyed tweaking him in front of a gathering so he would show off. She adored him...did she also manipulate him? She seems to have had the upper hand when she says that she could share him but he could not share her.

Maxine is quite a different story. She, too, is an artist yet never received the acclaim that her brother did. She is an unhappy woman, who lives with her dog, Frago, and her assistant, Katerina. Not at all comfortable with who she is, Maxine wears thick glasses and thinks she looks like an "ugly dwarf like toad." She detested the thought of anyone writing a biography of Oscar......unless they might shed some light her way. Maxine fears she will die alone and forgotten; she longs for a much closer relationship with her years younger assistant.

Abigail, whom Teddy called "Oscar's fat wife" was the favored daughter of a multimillionaire furrier. The apartment she and Oscar shared, a gift from her father, was on 84th and Riverside. She knew her husband little, assuming he would give up the silly notion of being an artist and go into business with his father. What she did know was Teddy; she saw her at Oscar's openings. Of course, she was also extremely jealous but also curious. Now that Oscar was gone she ordered almost everything she wanted or needed via the Internet so that she rarely left the apartment and her autistic son, Ethan.

Christensen is such a skillful author that she leads readers along, tantalizes them with lively, astute prose until an important secret is revealed and the three women come together to decide what is to be done, what is to be told and what is not.

The Great Man won the Pen/Faulkner Award - deservedly so. It is a remarkable novel, rich with wit, keen observations, and characters we'll not soon forget.

- Gail Cooke

Couldn't Put this book down
The style of this novel is very unique and hooks you from the start. I couldn't put it down. The four women who loved this (not-so) great man are so sensitively crafted by the author that you both, at once, admire them and question their devotion to such a hollow person as Oscar. The book also asks some important questions, such as what constitutes "great" art, who gets to decide, what role do women play in the art world, and how are we, as viewers, implicated in the social construction of the artistic genius.

Additionally, the inclusion of the two men writing separate biographies of the great man add tremendously to the story. The obituary and the two reviews at the end act as book ends to the story and add to its unique style. Bravo Ms. Christenson.

Great exposure of art world and psychology of people involved.
Great idea for a book. The famous painter dies and his close lovers, admirers and daughters come in together due to the fact that at least two biographers are on the prowl. All this results in digging out well buried emotions and past deeds to light of the day. That is the basic plot, but what sets this novel apart is very direct and concise use of English. The author appears almost transparent, as she does not add un-plausible elements to enhance the prose. Personages in the book, mostly woman, seem to come to life, not in details of environment, but in their psychological exposure by the author. None appear flat and unremarkable, or one sided on good vs. bad scale and yet very different. One notable achievement of the book is how well mental states of participants of social interactions are shown. We are given a glimpse of how woman pick up non verbal cues and judge their partners. This is all done without any hint of author trying to be cute, which would have reduced it to a typical chick lit.