Published by Random House on July 23, 2013
We meet Philip at the funeral of his father, Charlie Topping. Also present is Charlie's childhood friend, the renowned novelist A.N. Dyer, now nearing the age of eighty. Philip gives us lengthy introductions to A.N.'s older sons: recovering miscreant Richard, a screenwriter noticed in Hollywood only because of his family name; and stoner Jamie, whose videos (including daily shots of a former girlfriend while she was dying and after her death) reflect his "almost incandescent urge for the dreadful thing." Philip was the fifth grade teacher of A.N.'s third son, Andy, whose existence came as a surprise to A.N.'s wife and prompted a divorce. At seventeen, Andy is significantly younger than his middle-aged brothers. Andy views his famous father as annoyingly needy while his older brothers have always thought A.N. to be so distant as to approach nonexistence.
Philip provides the novel's narrative framework, telling each son's story, occasionally A.N.'s, and sometimes his own. Philip has current knowledge of the sons because, needing a place to live after his indiscretions cause him to lose his job, he has accepted A.N.'s offer to take up temporary residence in A.N.'s home. A.N. is dying (or perhaps it's just wishful thinking on his part) and the occasion of his impending death gives him reason to insist that his three sons come together. The family gathering will give A.N. a chance to meet Richard's teenage grandchildren, and Richard a chance to meet Andy, for the first time. It also gives A.N. a chance to reveal an improbable secret to his older sons. As A.N.'s ex-wife acidly tells him, the secret "takes narcissism to a whole new level, even for you."
We learn about A.N. Dyer through his own eyes (he describes himself as a "self-pitying writer" who is "easily overwhelmed by the basics of how to live") and those of others, but also through the books he wrote, books that echo his own life. The lead character in Tiro's Corruption has an acerbic view of anyone who lives beyond the boundaries of Manhattan, while Dyer's alter-ego in Eastern Time is a "secret pervert" (albeit a tame one). When A.N. advises Andy not to be "a ghost haunting your own life," he seems to be teaching a lesson learned by the protagonist in The Bend of Light, a "tin man" with an illusory heart who dies alone. Ampersand, A.N.'s celebrated novel about the cruelty of privileged adolescents, imparts critical facts about A.N.'s friendship with Charlie Topping. The use of books within a book to shed light upon A.N. is a clever device that will make & Sons linger in my memory.
To a small extent, & Sons is a typical New York literary novel, the kind that skewers the pretentious while itself being a bit pretentious. A scene depicting a snobbish book party is familiar, but it is enlivened by the attendance of anti-snobs Andy and Emmett (Richard's son), a pair of ultra-cool teenagers who add a healthy dose of comedy to the novel's mix. The novel's best comic moment, however, comes from poor A.N.'s confusion (and mortification) when he appears to meet his best known fictional character at the same party.
More importantly, and as the title implies, & Sons is about fathers and sons, about the distance that grows between them until it is impossible to "reach across the divide." Philip comes to understand his father only in death -- and that (the novel seems to say) is the only time a life can be truly understood. There are aspects of the way Philip tells this story (is he a reliable narrator?) that I found troubling, and an out-of-the-blue event near the novel's end seemed like a bad choice, but it does lead to some poignant moments in the closing pages. Unlike Ampersand, & Sons is never "emotionally claustrophobic" but neither is it melodramatic. While you wouldn't expect a novel about people's lives to wrap up neatly -- because complex lives never do -- & Sons at least ends on a moving and satisfying note.
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