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3.72 AVERAGE
3.72 AVERAGE
A smart, well-written character study; like Fitzgerald's novels it uses a fashionable setting and social mores as the backdrop (and player in) Julian's abrupt decline.
Beautifully written, characters felt real, but the story is pretty grim.
challenging
dark
emotional
sad
tense
medium-paced
Plot or Character Driven:
Character
I enthusiastically signed up for the Back to the Classics 2015 challenge hosted at http://karensbooksandchocolate.blogspot.com/ since last year’s challenge was a really fun and effective way to get to some of those titles that have been languishing on my TBR. This was the first book I read for the 2015 challenge, filling the category of “20th Century Classic” and also ticking yet another book off the Modern Language 20th century best of list. I can see why the writing in the book is admired, O’Hara is able to convey a lot with few words, but I just didn’t care about any of the characters or what happened to them. In some ways, this book, with its exposure of small town conformity and hypocrisy, was similar to Sinclair Lewis’ novel Main Street, which I liked a lot more. Maybe this was because Carol in Main Street is a much more sympathetic character than Julian English, the protagonist (or maybe antihero) of Appointment in Samarra. The book is also quite frank about sex, especially given that it was published in the 30’s.
The story is told in an indirect way, with detours in the backgrounds of peripheral characters interspersed within the main plot. Julian seemingly has everything going for him. He is in his late twenties, from the right family, moderately wealthy, well married, well liked etc. But one evening, he publicly insults another member at the country club and this sets off his downward spiral from respectability to persona non-grata in the town. What makes Julian do it? The book really doesn’t answer that question overtly. Is it snobbery? Is it jealousy? Does he have a death wish? Does he feel trapped in his conventional, middle class life? Is it the fact that his business and his marriage aren’t quite as ideal as they seem? Is there a history of mental illness in his family, bad blood? Or is it his alcoholism?
Or maybe it is none of the above, since the title of the book indicates that one cannot outrun one’s fate. Throughout the book, Julian has chances to redeem himself, but he consistently chooses paths that only further ensnare him so that ultimately he feels he has only one way out.
The story is told in an indirect way, with detours in the backgrounds of peripheral characters interspersed within the main plot. Julian seemingly has everything going for him. He is in his late twenties, from the right family, moderately wealthy, well married, well liked etc. But one evening, he publicly insults another member at the country club and this sets off his downward spiral from respectability to persona non-grata in the town. What makes Julian do it? The book really doesn’t answer that question overtly. Is it snobbery? Is it jealousy? Does he have a death wish? Does he feel trapped in his conventional, middle class life? Is it the fact that his business and his marriage aren’t quite as ideal as they seem? Is there a history of mental illness in his family, bad blood? Or is it his alcoholism?
Or maybe it is none of the above, since the title of the book indicates that one cannot outrun one’s fate. Throughout the book, Julian has chances to redeem himself, but he consistently chooses paths that only further ensnare him so that ultimately he feels he has only one way out.
I recently acquired a vintage copy of three John O'Hara novels and, as I had only read one of them, decided to return to O'Hara's world (mid 20th century Pennsylvania and New York) for a visit. Perhaps my first real trip to Philadelphia, back in August, prompted me to pick up one of the Keystone State's native sons.
O'Hara set his first novel, Appointment in Samarra, in the fictional town of Gibbsville (based on O'Hara's hometown of Pottsville, PA.) O'Hara's specialization was ripping the veneer of morality off of small town (and big city) America and exposing the seamy underbelly. For this he was both admired and reviled in his era. O'Hara was also an irascible drunk -- hard to get along with and egotistical. Some found his writing puerile and mainly of interest for shock value. However, his importance as a 20th century American writer cannot be understated. Hemingway knew a talent when he saw one coming as Samarra was published and called out O'Hara as a writer to be reckoned with. Americans followed suit and read the hell out of his novels and short stories and saw several of his works rise to superstardom on the stage and screen. (Pal Joey, Butterfield 8, From the Terrace to name a few.) I, in fact, came to O'Hara's books as a young person through the movies I saw based on his stories.
Yet I did not begin with O'Hara's first book. So I was not sure what to expect with Appointment in Samarra. As compared to Butterfield 8 and Pal Joey, Samarra is a bit quieter. The story centers around the marriage of Julian and Caroline English. They are members of the small town Smart Set and seemingly comfortable from the income they receive from the car dealership Julian owns. But it is 1930 and times are precarious. People are going under practically overnight. The social scene is being tentatively invaded by Catholics and Jews. Julian English and his wife represent the American establishment of the early 1900s. Although they are a young couple, they feel at least middle aged. The world is changing to an extent that is even felt in Gibbsville.
The existence of a regional mobster and his Gibbsville-based mistress add further upset to the well regulated lives of the town's upper crust. People who formerly did not have to dirty their hands with gangster money might now have to bend their scruples. Julian also has problems from his childhood which are beginning to creep into his life. And, like the author who created him, Julian English likes to drink a lot. So does everyone else in his set. They go to their club on a weekend (or even a week day) night and conduct a highly orchestrated social dance fueled by booze and jealousy and insecurity. It is at one of these evenings that Julian English throws his drink in the face of a man whom he dislikes. He does it because he thinks he can. He is established and this other man, a Catholic, is an interloper.
This act of spite or impulse reverberates through Julian's life and begins to dismantle it. Thus O'Hara tells us a type of Depression Era story. It may be somewhat applicable to today's situation as well, for we now see what happens when the power establishment begins to feel threatened by change and the arrival of newcomers. This has happened before in American history and the results are often messy and violent and sad.
Although John O'Hara the man would have probably rubbed me the wrong way, I do enjoy escaping into the drama of O'Hara's stories. One commentator likened his novels to binge watching Mad Men (an activity I enjoyed with relish some years back.) Younger readers (or older!) who have not read O'Hara might want to begin with Butterfield 8 (based on a real life scandal involving the death of flapper.) Modern eyeballs will be surprised to read the candor with which O'Hara writes about sex (especially female sexuality) -- a topic he was accused of being obsessed with, back in his day. If the mid twentieth century settings and soapy plots appeal, definitely move on to his other novels. Samarra may stand out as being one of the better selections.
O'Hara set his first novel, Appointment in Samarra, in the fictional town of Gibbsville (based on O'Hara's hometown of Pottsville, PA.) O'Hara's specialization was ripping the veneer of morality off of small town (and big city) America and exposing the seamy underbelly. For this he was both admired and reviled in his era. O'Hara was also an irascible drunk -- hard to get along with and egotistical. Some found his writing puerile and mainly of interest for shock value. However, his importance as a 20th century American writer cannot be understated. Hemingway knew a talent when he saw one coming as Samarra was published and called out O'Hara as a writer to be reckoned with. Americans followed suit and read the hell out of his novels and short stories and saw several of his works rise to superstardom on the stage and screen. (Pal Joey, Butterfield 8, From the Terrace to name a few.) I, in fact, came to O'Hara's books as a young person through the movies I saw based on his stories.
Yet I did not begin with O'Hara's first book. So I was not sure what to expect with Appointment in Samarra. As compared to Butterfield 8 and Pal Joey, Samarra is a bit quieter. The story centers around the marriage of Julian and Caroline English. They are members of the small town Smart Set and seemingly comfortable from the income they receive from the car dealership Julian owns. But it is 1930 and times are precarious. People are going under practically overnight. The social scene is being tentatively invaded by Catholics and Jews. Julian English and his wife represent the American establishment of the early 1900s. Although they are a young couple, they feel at least middle aged. The world is changing to an extent that is even felt in Gibbsville.
The existence of a regional mobster and his Gibbsville-based mistress add further upset to the well regulated lives of the town's upper crust. People who formerly did not have to dirty their hands with gangster money might now have to bend their scruples. Julian also has problems from his childhood which are beginning to creep into his life. And, like the author who created him, Julian English likes to drink a lot. So does everyone else in his set. They go to their club on a weekend (or even a week day) night and conduct a highly orchestrated social dance fueled by booze and jealousy and insecurity. It is at one of these evenings that Julian English throws his drink in the face of a man whom he dislikes. He does it because he thinks he can. He is established and this other man, a Catholic, is an interloper.
This act of spite or impulse reverberates through Julian's life and begins to dismantle it. Thus O'Hara tells us a type of Depression Era story. It may be somewhat applicable to today's situation as well, for we now see what happens when the power establishment begins to feel threatened by change and the arrival of newcomers. This has happened before in American history and the results are often messy and violent and sad.
Although John O'Hara the man would have probably rubbed me the wrong way, I do enjoy escaping into the drama of O'Hara's stories. One commentator likened his novels to binge watching Mad Men (an activity I enjoyed with relish some years back.) Younger readers (or older!) who have not read O'Hara might want to begin with Butterfield 8 (based on a real life scandal involving the death of flapper.) Modern eyeballs will be surprised to read the candor with which O'Hara writes about sex (especially female sexuality) -- a topic he was accused of being obsessed with, back in his day. If the mid twentieth century settings and soapy plots appeal, definitely move on to his other novels. Samarra may stand out as being one of the better selections.
That "Appointment in Samarra" might have a downer ending is suggested by the title, so I shouldn't have been surprised it was sometimes painful to continue reading. And the end, when it came, was a relief. However I enjoyed window into a society long gone, and O'Hara explained it beautifully.
Why this took me so long to finish, I don't really know. It was a pleasant reading experience, but perhaps one not engaging enough to make me choose it over other books?
While I was in Washington visiting my family, my dad took me to Comstock books in downtown Auburn. Comstock sells used and rare titles, a few cats run around in the sunlit windows. When I was done ogling over the Babysitter's Club books that I LIVED for as a kid (and that are now mostly out of print), my dad pulled O'Hara's book of the shelf and asked if I'd read it. When I told him I hadn't, he promptly bought it for me and told me I'd like it.
My dad has great recommendations..and this proved to be no exception. O'Hara weaves interconnected plot lines and perspectives like the master he is....I can only try and emulate this in my future writing.
The story follows the wealthy Pennsylvanian couple, Julian and Caroline, who have recently encountered disaster at the Country Club's Christmas Eve party. The couple is a member of the town's elite, enjoying the certain social perks of this "membership." Or maybe not.... Both begin to express frustration at being locked into a world they don't really connect with, attempting to find an emotional interconnectedness in their relationship outside of sex. As Julian's drinking problem and general life dissatisfaction begin to bring on their destruction, the story is told both from their perspective and those from in and out of their circle. The way O'Hara does this is wonderful, the fall of Julian from the driver of the local gangster is just as poignant and interesting as from Julian's own mind. The language of the characters is similar to Fitzgerald and Hemingway, and its funny because everytime I read them I think did people really talk like that? Or was that just in movies and literature? Things like, "I say you old mop, where do you even begin?" (Uh what?) or when lovers talk, "Oh stop it dear, you know I love you, I don't want to walk outside, let's just stay here in the dance line." Even that example is too direct. The character dialogue that came to mind when I read this was "Farewell to Arms" and "This Side of Paradise." It didn't feel real, and it made the women seem less important. But Caroline is still able to hold her own.
For some reason this book took me longer to read, but despite the length of the story and the very slow, gradual decay of the character's lives, I was still surprised by the ending. Don't look it up before hand if you don't already know! The surprise allows you to see how truly callous and impulsive the characters actions have become, and gives more weight to what has come before.
Way to go, Dad. Good taste.
My dad has great recommendations..and this proved to be no exception. O'Hara weaves interconnected plot lines and perspectives like the master he is....I can only try and emulate this in my future writing.
The story follows the wealthy Pennsylvanian couple, Julian and Caroline, who have recently encountered disaster at the Country Club's Christmas Eve party. The couple is a member of the town's elite, enjoying the certain social perks of this "membership." Or maybe not.... Both begin to express frustration at being locked into a world they don't really connect with, attempting to find an emotional interconnectedness in their relationship outside of sex. As Julian's drinking problem and general life dissatisfaction begin to bring on their destruction, the story is told both from their perspective and those from in and out of their circle. The way O'Hara does this is wonderful, the fall of Julian from the driver of the local gangster is just as poignant and interesting as from Julian's own mind. The language of the characters is similar to Fitzgerald and Hemingway, and its funny because everytime I read them I think did people really talk like that? Or was that just in movies and literature? Things like, "I say you old mop, where do you even begin?" (Uh what?) or when lovers talk, "Oh stop it dear, you know I love you, I don't want to walk outside, let's just stay here in the dance line." Even that example is too direct. The character dialogue that came to mind when I read this was "Farewell to Arms" and "This Side of Paradise." It didn't feel real, and it made the women seem less important. But Caroline is still able to hold her own.
For some reason this book took me longer to read, but despite the length of the story and the very slow, gradual decay of the character's lives, I was still surprised by the ending. Don't look it up before hand if you don't already know! The surprise allows you to see how truly callous and impulsive the characters actions have become, and gives more weight to what has come before.
Way to go, Dad. Good taste.
What an interesting little 1930s offering. To me it never could quite decide what it was aiming for- Peyton Place or Death of a Salesman or the Godfather or F. Scott Fitzgerald. Sure, it's the Great Depression, but let's all sit around at the country club and talk about the Junior League party and who got too drunk last night. While scheming on how to keep out the Jews and Catholics. I couldn't figure out what about it, exactly, drew me in so thoroughly. My interest in small town life is slight, but I found myself fascinated by the bizarre machinations of the mini-culture. Then, of course, there is the slow motion car crash of Julian English's entire life. It is hard to imagine from the slight beginning that within two days he will kill himself through car asphyxiation. What an odd sequence of events. Is this how the slow motion implosion of a life really happens? Is it really just a matter of inches. Not that I felt all too sorry for him. He wasn't much of a likable guy, all in all. Waltzing off with Helene in front of everyone? Was this really a thing men just did?
O'Hara's prose bends dangerously close to purple by modern standards at some points, but he uses some cool framing techniques to keep the story moving. Loved how the story began and ended with the lovable Flieglers, Irma and Lute, although I wasn't thrilled with the mid-sentence ending. I see the point, though- the world, it just keeps mercilessly turning.
I can imagine all the frank lovemaking talk was scandalous when this came out.
O'Hara's prose bends dangerously close to purple by modern standards at some points, but he uses some cool framing techniques to keep the story moving. Loved how the story began and ended with the lovable Flieglers, Irma and Lute, although I wasn't thrilled with the mid-sentence ending. I see the point, though- the world, it just keeps mercilessly turning.
I can imagine all the frank lovemaking talk was scandalous when this came out.