The Great Man
-
-
5,0 • 1 valutazione
-
-
- 3,99 €
Descrizione dell’editore
National Bestseller and Winner of the PEN/Faulkner Award for Fiction
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.
"Mischievous...funny, astute...As unexpectedly generous as it is entertaining.... Christensen is a witty observer of the art universe." —The New York Times
PUBLISHERS WEEKLY
This penetratingly observed novel is less about the great man of its title than the women Oscar Feldman, fictional 20th-century New York figurative painter (and an infamous seducer of models as well as a neglectful father), leaned on and left behind: Abigail, his wife of more than four decades; Teddy, his mistress of nearly as many years; and Maxine, his sister, an abstract artist who has achieved her own lesser measure of fame. Five years after Feldman's death, as the women begin sketching their versions of him for a pair of admiring young biographers working on very different accounts of his life, long-buried resentments corrode their protectiveness, setting the stage for secrets to be spilled and bonds to be tested. Christensen (The Epicure's Lament) tells the story with striking compassion and grace, and her characters are fully alive and frankly sexual creatures. Distraction intrudes when real-world details are wrong (the A-train, for instance, doesn't run through the Bronx), and the novel's bookends an obituary and a book review, both ostensibly from the New York Times are less than convincing as artifacts. In all, however, this is an eloquent story posing questions to which there are no simple answers: what is love? what is family? what is art?
