Product Description

L.J. Davis’s 1971 novel, A Meaningful Life, is a blistering black comedy about the American quest for redemption through real estate and a gritty picture of New York City in collapse. Just out of college, Lowell Lake, the Western-born hero of Davis’s novel, heads to New York, where he plans to make it big as a writer. Instead he finds a job as a technical editor, at which he toils away while passion leaks out of his marriage to a nice Jewish girl. Then Lowell discovers a beautiful crumbling mansion in a crime-ridden section of Brooklyn, and against all advice, not to mention his wife’s will, sinks his every penny into buying it. He quits his job, moves in, and spends day and night on demolition and construction. At last he has a mission: he will dig up the lost history of his house; he will restore it to its past grandeur. He will make good on everything that’s gone wrong with his life, and he will even murder to do it.

Product Details

• Amazon Sales Rank: #59723 in Books
• Published on: 2009-03-10
• Released on: 2009-03-10
• Original language: English
• Number of items: 1
• Binding: Paperback
• 232 pages

Features

• ISBN13: 9781590173008
• Condition: NEW
• Notes: Brand New from Publisher. No Remainder Mark.
• Click here to view our Condition Guide and Shipping Prices

Review
"The story, delivered with terrific brio, proceeds as a phantasmagoria of urban decay and heightened obsession. It is also extremely funny if you can put politically correct scruples to the side - which should be easy enough as the true butt of the novel is Lowell himself."    —Katherine Powers, The Boston Globe

"Stultified by his job (editing a plumbing magazine) and his mind-numbing marriage ('a cross between Long Day's Journey into Night and Father Knows Best'), frustrated novelist Lowell Lake welcomes a new obsession: renovating a monstrously dilapidated mansion in a Brooklyn slum. What follows, in L.J. Davis's deadpan 1971 novel A Meaningful Life, reissued by NYRB Classics, is pure chaos, as Lowell confronts a cast of urban squatters, in some of the most brilliant comic turns this side of Alice in Wonderland. A cathartic read for urban pioneers." --O, The Oprah Magazine

"A rediscovered American classic from the 1970s, this is a darkly comic portrayal of broken dreams." --Waterstone Books Quarterly

"Here's a real rediscovery...This strange comic masterwork is compared to the work of Kingsley Amis in Jonathan Lethem's new introduction. That's almost right, but the feel is darker, and there's a touch of Patricia Highsmith too; it's all about gentrification, and, ultimately, madness." --The Los Angeles Times

“He has an erring sense of timing, of taste, of restraint. He has written some truly marvelous passages about New York. He has an absolute eye for the telling detail…An author who is clearly capable, funny at the proper times, both brutally and cheerfully perceptive.” –The New York Times

A novel that “has the authentically crazy tintinnabulation of our times…Mr. Blandings in a situation comedy by Kafka.” –Book World

“[Davis] has a fine comic gift; a clear-eyed view of those who imagine that mere accumulation is life itself.” –Paula Fox

“Davis is seen by some as a kind of Evelyn Waugh of the American urban crisis.” –The Washington Post

About the Author
l. J. Davis is an author and prize-winning journalist who has contributed to The New York Times, Mother Jones, and Harper’s, among other publications. A former Guggenheim Fellow and the
winner of a National Magazine Award, he lives in Brooklyn, New York.

Jonathan Lethem is the author of seven novels, including Motherless Brooklyn and The Fortress of Solitude. He lives in Brooklyn and in Maine.

Customer Reviews

"He was a nice guy"
The first hundred pages of this book are among the best and funniest written about the "domestic politics of exhaustion." Lowell Lake quietly and desperately employs passive resistance in the quotidian war with his wife. For her part, she throws away his clothes and his birth certificate, tells Lowell that she hates how he sits in a chair, manipulates him into moving closer to her parents and wields casual cruelty like a rapier. In one of his few moments of insight or enthusiasm, Lowell blurts out to his wife during their relocation to her home in New York that he is the first member of his family to cross back east over the Mississippi in over a hundred years. Her response: "Big deal."

Unfortunately, the second half of the book focuses less on his marriage in order to recount Lowell's attempt to create an identity by renovating a broken down home in Brooklyn. He makes a game attempt but Lowell Lake is a man who has no friends, can't catch a ball and has so little clue that he prefers Linda Thorsen to Diana Rigg on the Avengers. (How's that for an obscure pop cultural reference by Davis?) Lake's failed effort lifts him almost to the level of a tragic hero but the reader remembers him more as the man who wakes up at night and intones aloud, "I am not a nerd."

This a quick and very enjoyable book. Read it for the priceless portraits of Lake's in-laws and for the new level of meaning Lowell Lake's existence brings to the word "meaningful."

Prickly Satire, Admirably Brief
Lowell Lake is a fellow devoid of drive or brilliance. He grows up in the middle of nowhere--Boise--where his parents run a ma-and-pa motel that caters to the local b-girls, as well as the occasional furtive and worried homosexual politician. Lowell is smart enough to get accepted by Stanford, circa 1956, but not clever enough for a scholarship. He writes to the local judge, asking for advice and help. The judge misreads the letter as a smooth blackmail note. He's been having uranian assignations at the motel for many years, and decides the motel owners' son must know all about them. So the judge tells Lowell he knows of an obscure scholarship fund, and for four years pays for Stanford out of pocket. Lowell is none the wiser.

Nor does he do anything smart or distinguished in Palo Alto, where he fills out an English major and settles in with a Jewish girl from Brooklyn. He knows nothing about Jews or Brooklyn, but it all sounds wonderfully exotic. When Lowell finally meets the parents, he is horrified. The fiancée's mother is a shrill, angry woman who won't look Lowell in the eye; the father is a tiny, meek fabric-cutter ("Call me Leo") who main conversational topic is his terror of "the negroes." Lowell's impulse is to run away--perhaps live as hermit in the desert. He gets as far as Donner Pass before deciding he doesn't really have that much courage.

And so the dreadful, bickering marriage begins: Lowell's wife slowly turning into her mother and accusing Lowell of being "weak" like her father, Lowell feebly attempting to rouse himself to something dynamic.

They were supposed to move to Berkeley and follow the grad-school path. Now Lowell decides to show his nerve by moving to New York. He has no idea what he'll do in New York--maybe drive a cab and write a novel. "That's just great," shrills the wife. "I have to travel three thousand miles and work my ass off for four years in order to marry a New York cab driver? I don't think you know how bizarre that really is."

All this covers the first quarter of the book, by far the best and most inventive part. Most of the rest describes, in grotesque and fetid detail, the vast 1880s Brooklyn mansion that Lowell buys and proposes to refurbish. The basic stage-set changes from Lowell's cramped apartment to the tumbledown slum-house, giving ample room for a wide new cast of characters. Unfortunately most of these new characters are interchangeable extras--conniving real estate men, bums, various sorts of squatters and lunatics, and an army of colored people who drink out of paper bags and harass Lowell on the street.

Lowell doesn't so much do things as have stuff happen to him. His wife leaves him--sort of: runs off to her mother's, comes back, runs off again, may be having an affair, possibly not. Lowell kills a bum with a crowbar, splattering the bum's brains over the front room, and then tossing the body into a dumpster. But even this massive development has no consequences.

Plot is not foremost in this story; it is perfunctory, a bulletin-board onto which the author tacks his comic turns and diversions. Lowell's in-laws and wife, and the vast cast of others, get to show up and clown around on stage without ever eliciting sympathy or having any impact on the plot. Another welcome diversion is the biography of Darius Collingwood, the tycoon and adventurer who originally built the Brooklyn mansion in the 1880s (but lived there for a scant six months), and whose life conflates every half-remembered Nineteen Century tale of Wall Street scandal and South American freebooting.

The book's point-of-view shifts throughout. Initially the narrator is omniscient, knowing all sorts of things that Lowell doesn't. Once Lowell settles in with his cartoony wife, the p-o-v becomes downright claustrophic, limited to an ever-narrowing range of Lowell's consciousness.

The imaginative world of the novel is frankly derived from pop culture, mainly TV ('The Honeymooners' is mentioned once) and comic strips (Lowell thinks he looks like Henry Tremblechin, the put-upon father of Little Iodine). The Darius Collingwood mansion, with its dozens of rooms and layers of squalor, is an underclass version of the old-timey funny-page settings of "Major Hoople's Boarding House," "Moon Mullins," or "Right Around Home with Myrtle."

Recently I was musing about what sort of book would be suitable for reading on a Kindle. I think this one would. It isn't long and it doesn't have any pictures. The people are all stock characters without depth or detailed physical description (apart from Lowell, who is long, lean, and sandy-haired), so I never wanted to figure them out by drawing pictures of them in the margin. Neither did I feel prompted to scribble querulous notes and copyedit corrections. As a matter of fact, I didn't spot a single typo in the whole book. You won't find that kind of quality today.