How to Be Alone: Essays

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How to Be Alone: Essays

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Jonathan Franzen’s The Corrections was the best-loved and most-written-about novel of 2001. Now in How to be Alone, learn the personal narratives and the dead-on reportage that earned Franzen a wide readership before the success of The Corrections.

The audiobook How to be Alone features Franzen’s reading of a moving narrative of his father’s struggle with Alzheimer’s disease (which won a National Magazine Award and has been reprinted around the world).

Although his essays range from the sex-advice industry to the way a supermax prison works, each essay wrestles with essential themes of Franzen’s writing: the erosion of civic life and private dignity, and the hidden persistence of loneliness in postmodern, imperial America.

Here, in 14 essays, are 14 fresh answers to the question of how to be alone in a loud and distracting mass culture. These essays show the wry distrust of the claims of equipment and psychology, the like-despise relationship with consumerism, and the subversive belief in the tragic shape of the individual life that help make Franzen one of our sharpest, toughest, and most entertaining social critics.Amazon.com Review
Jonathan Franzen is smart and brash, the kind of person you want as your social critic but not as a brother-in-law. Many of the 14 essays in How to Be Alone, by the leader of the critically acclaimed novel The Corrections, first appeared in The New Yorker, Harper’s, and elsewhere. A long, much-discussed rumination on the American novel, (newly) titled “Why Bother?,” is included, as well as essays on privacy obsession, the U.S. post office, New York City, huge tobacco, and new prisons. At his best, as in “My Father’s Brain,” a piece on his father’s struggle with Alzheimer’s, Franzen can make the ordinary world utterly riveting. But at times, it can be hard to discern where Franzen stands on any particular theme, as he regularly takes both sides of an argument. Valid attempts to reflect ambiguity s! ometimes lead to obfuscation, especially in his essays on privacy and tobacco, although his belief that tiny-town America of years gone by offered the individual small privacy certainly rings right. Franzen can write with panache, as in this comment after he watched, lacking headset, a TV show during a flight: “(It) became an exposé of the hydraulics of insincere smiles.” A few of the shorter pieces appear to be filler. Franzen shines brightest when he gets edgy and a small mad, as in “The Reader in Exile”: “As a replacement for of Manassas battlefield, a past theme park. As a replacement for of organizing narratives, a map of the world as complex as the world itself. As a replacement for of a soul, membership in a crowd. As a replacement for of wisdom, data.” –Mark Frutkin, Amazon.ca

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