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Summary
Summary
From the bestselling, critically acclaimed author of Man in the Woods and Endless Love, a stunning, stinging portrait of class and creativity-and the double-edged sword of success
Thirteen parties over the course of two decades-an opium infused barbeque, a reception for a doomed presidential candidate, a fund-raiser for a blind child who speaks in tongues, a visit to one of New York's fabled sex clubs-brilliantly reveal the lives of two couples, one hoping to be admitted to the kingdom of Art, the other hoping for a small share of the American dream, both driven by forces of history they rarely perceive or acknowledge.
Thaddeus Kaufman, the son of booksellers, and Grace Cornell, raised in a basement apartment she longs to escape, meet at a neighborhood art fair in Chicago. Soon after, they head to New York, aloft on the wings of young love. Jennings Stratton, the son of a caretaker, and Muriel Sanchez, the daughter of a cop, meet in a house he is refurbishing in New Mexico, and they, too, head for the big city.
In a vast Hudson River estate, the lives of the two couples ultimately intertwine. Thaddeus has made it big in an unexpected way, setting off a chain reaction of envy among his friends and peers and forever changing the dynamic of his marriage with Grace, for whom success has been elusive, and art, once a source of solace, has become a font of bitterness. And Jennings, hoping to transcend his reputation as the local Casanova, a man suited only for menial tasks, has ventured into a cycle of theft and betrayal that threatens to destroy the fragile life of his family.
Funny and cutting, affecting and expansive, River Under the Road is Scott Spencer's masterpiece of all that lies beneath our everyday lives-a story about the pursuit of love, art, and money, and the inevitable reckoning that awaits us all.
Reviews (1)
Kirkus Review
The story of two couples, recounted across 14 years through the lens of a dozen parties.Parties are often where we reveal ourselves, inadvertently or otherwisewe get drunk, we flirt, we say things we shouldn't have said. But if such a notion is central to this novel (each chapter opens with an invitation, as if to highlight the conceit), too often the narrative meanders, losing sight of its characters, or of their unhappiness, in the mechanics of the social whirl. At the center of the action are Thaddeus, a screenwriter, and his wife, Grace, an artist who drifts away from her art as the pair moves from bohemia into the bourgeoisie. "Their marriage seemed stale, maybe it was dying," Spencer (Man in the Woods, 2010, etc.) tells us. Or, as Grace murmurs to her husband one evening, regretfully, "Not exactly the life we had in mind." These dissatisfactions are only exacerbated by the presence of the second couple, especially the husband, Jennings, who is both a local Lothario and a kind of handyman/fixer on Thaddeus and Grace's Hudson River estate. Money is an issue throughout the novelwho has it and who doesn't, what one must do to get it, what happens when it goes away. More to the point, however, this is a book about the vicissitudes of love. Thaddeus and Grace, Jennings and his wife, Muriel: they love one another, after a fashion, but in both marriages, love is not enough. Each character is beset by his or her own frustrations, by the difference between what they wanted and what they've got. That may be a universal condition, but as the novel progresses, the world it portrays begins to narrow and the relationships fall into predictable lamentations, mostly involving the inability of privilege to console. Such a conflict can be compelling, but the characters here lack a certain necessary self-awareness, leaving their disappointments (with the world, with one another) to register mostly at the level of complaint. "Whatis happiness anyhow?" Thaddeus pouts. "It's so stupid. Even the word happiness sounds sort of ridiculous. I don't care about happiness. I just want to be with you." Spencer's novel makes some trenchant observations about love and loss, about growing up and growing apart, but in the end, it can't quite get out of its own way. Copyright Kirkus Reviews, used with permission.
