Good Kids by Benjamin Nugent

Published by Scribner on January 29, 2013 

A son measures himself against his father, intent on avoiding mistakes that he inevitably repeats. Benjamin Nugent gives that classic theme a postmodern spin in Good Kids, a novel that encourages the reader to guess how far the apple will fall from the parental tree.

Good Kids begins in 1994. Josh and Kadijah bond after they witness Josh's father kissing Kadijah's mother in an organic food store. The forbidden knowledge provokes the growth of "a conspiratorial feeling" and kindles a romantic spark. Josh's dad, Linus, a professor of political science, sees himself as a virtuous person, steeped in the values of the 1960s. Josh considers his dad's infidelity to be less than virtuous and makes a vow (initiated by Kadijah) never to follow in those footsteps. The reader knows, of course, that whether Josh keeps that vow will be the novel's central question.

Linus often talks about the new life he intends to build, a life devoted to writing serious essays, but always seems to be pulled in different directions, none of which involve Josh, who realizes that his dad is "just not that into me." Josh moves to New York, hoping the city will transform him into a rock musician or, failing that, allow him to "construct a shell so complex and subtle and bewitching that people more sure of themselves ... would mistake me as one of their own and take me in, showing me by example how to be like them." To avoid being trapped in an unsatisfying career like his dad, Josh joins a band and chases his dream to California. The band provides him with a sense of family, with predictable results.

Ten years pass in a blur before the story again comes into focus. When Josh meets Julie on a blind date, they converse with irony-laden, sparkling wit. I often find dialog of that nature to be irritating, probably because I'm jealous given that my own attempts at first date banter are less than scintillating, but Nugent managed to persuade me that his characters are adept conversationalists. The evolution of Josh's domestic life with Julie slows the story until Kadijah resurfaces. As Josh interacts with Julie, Julie's family, his own mother and sister, and Kadijah, he begins to reconsider his anti-Linus lifestyle.

To the extent that Good Kids explores generational and class differences, the story substitutes humor for depth. Linus and Josh's mother (who mixes Jung with Buddhism) are exaggerated stereotypes of the aging hippie, but that's what makes them amusing. A mild conflict between Julie's conservative, financially successful parents and Josh's sister (an idealistic social worker) inspires Julie to make a televised joke about welfare mothers, giving Josh a reason to resent Julie. While the scene moves the story forward, Nugent never penetrates the superficial veneer of his secondary characters. This isn't a serious flaw since the novel is really about Josh alone, but it's disappointing that Nugent gives Josh such a shallow supporting cast.

Consumed with postmodernist irony and ennui, Josh floats through the story without experiencing more than forty-five minutes of intense emotion. He is so detached from the family drama that surrounds him as to render it undramatic. I got the sense that, as a failed rock musician, Josh is just too cool to be anything other than an observer, as if participating in life and feeling its effects has become passé. Josh's aloof nature makes it difficult to connect to his experiences.

On the other hand, Nugent told Josh's story with stylistic flair and with enough humor to satisfy me. I'm tempted to label Good Kids as fluffy and predictable, but those adjectives are too harsh given my positive reaction to the novel as a whole. Josh and Kadijah are interesting contrasts, Josh begins to learn how to "walk through adulthood" (although I'm not sure he actually learns how to live it), and the story, like Josh, drifts pleasantly, if a bit aimlessly.

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