Mr. Vertigo
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“Nobody—nobody—has produced a better parable about the condition of the national consciousness at century’s end.”—The Boston Globe
An enduringly brilliant novel of trial and triumph set in America in the 1920s, from New York Times bestselling author Paul Auster
“A charmer pure and simple . . . Nothing less than the story of America itself.”—Jonathan Yardley, The Washington Post
Paul Auster’s dazzling, picaresque novel is the story of Walter Claireborne Rawley, renowned nationwide as “Walt the Wonder Boy.” It is the late 1920s, the era of Babe Ruth, Charles Lindbergh, and Al Capone, and Walt is a Saint Louis orphan rescued from the streets by the mysterious Hungarian Master Yehudi, who teaches Walt to walk on air. The vaudeville act that results from Walt’s marvelous new ability takes them across a vast and vibrant country, where they meet and fall prey to sinners, thieves, and villains, from the Kansas Klu Klux Klan to the Chicago mob. Walt’s rise to fame and fortune mirrors America’s own coming of age, and his resilience, like that of the nation, is challenged over and again.
PUBLISHERS WEEKLY
It will come as no surprise to the gifted Auster's ( Moon Palace ; The Music of Chance ) many fans that walking on air, the implausible premise of his marvelously whimsical seventh novel, is treated with convincing gravity. Walt Rawley recounts his life: an orphan born in 1924 with ``the gift,'' he was seized by his master, Mr. Yehudi, a Hungarian Jew who taught him to levitate. Yehudi takes the boy from St. Louis to his own Kansas menage, which consists of Mother Sioux and Aesop, a young black genius. (Also influencing Walt's life is classy, henna-headed Marion Witherspoon, a seductive mom figure from Wichita.) After harsh training, Walt tours with his mentor as ``the Wonder Boy,'' aka Mr. Vertigo. Crammed into this road saga is the potent Americana of myth: the 1920s carnival circuit, Lindbergh's solo, the motorcar, the ethnic mix, the Ku Klux Klan and the Mob, baseball and Kansas, ``land of Oz.'' Diverse mishaps descend, but eventually Walt glides into old age and writing. The characters speak a lusty lingo peppered with vintage slang, while a postmodern authorial irony tugs their innocence askew. The prose grows particularly electric when demystifying ``loft and locomotion.'' Implicit is an analogy between levitation and the construct of fiction: both require fierce discipline to maintain a fleeting illusion.
