This 2016 novel reads as if Russo has fallen in love with his characters of Nobody’s Fool, as well as being fascinated by the down-at-the-heels town of North Bath that he has created in upper New York State. And without any overall plan, has decided to re-apply his writing skills to that town and to explore the subsequent lives of these same characters. The result is a serious novel that cares deeply about its creations, but it does seems unfocused, as it follows these citizens around without an apparent purpose in doing so. And as a result, seems simply to create a world that is alive in the author’s mind, and which he is skilled enough to bring alive also to the reader.
And so we follow the parallel adventures of four male residents who talk to each other but whose lives do not affect each other, and who are not dependent on one another. We simply move from one character’s life to the next. These characters are Sully Sullivan, the main character from the earlier novel about North Bath, whose health is now threatened by a weak heart; Doug Raymer, the town’s chief of police, who is the most prominent character in this novel and who seeks to learn the identity of the man who was his wife’s lover before she died; Gus Moynihan, the North Bath mayor, who also has spousal problems but is less significant; and Carl Roebuck, the town entrepreneur, who never achieves the business success he seeks and also fades out at the end of this novel.
Each of these characters sees himself as failing to live up to his potential, just as their town has failed economically to keep up with its wealthy neighbor, Schuyler Springs. However, Russo helps the reader to identify with each of these characters, despite their human weaknesses, as it is clear that each of them is dealing with a personal trait or a family connection that hinders their search for happiness and fulfillment.
These four main characters bring substance to this novel, nevertheless, and give depth to this town. But it is other characters, less substantial, who drive the action of this novel. The most prominent is Charice Bond, a highly efficient black woman who is the aide to police chief Raymer, and with whom he has an emotional connection. There is also her unsettled brother, Jerome, with whom she has an even closer emotional connection; Rub Squeers, a hapless town handyman who tries and fails to be Sully’s best friend; and Roy Purdy, the most significant, a violent man who beats up people, especially his ex-wife and his former mother-in-law, the latter because she has had a long affair with Sully.
One means of probing the interior of these characters, lending them literary substance, is the use of humor. The most obvious source is Dougie, an inner voice of Doug Raymer who needles him, sees his weaknesses, and also acts as his conscience. Unfortunately, this italicized voice is overdone, and becomes too obvious a means of revealing Raymer’s inner thoughts. It also prompts an absurd moment when Raymer becomes a hero by grabbing a deadly cobra and putting it back in a box. Yes, a cobra is loose in town in one of the novel’s major absurdities.
But not the only one. There is also grave robbing. It seems Raymer has found a garage opener in his dead wife’s car, and he goes around town pointing it at neighbor’s garages in order to learn whom she had an affair with. Except, he then falls into a grave, loses the opener, and it is buried behind him. Voila, a grave robber. There is also more humor behind other human foibles, foibles resulting in a collapsed wall or a stinking basement, all of which bring out the ignorance, the pettiness, and the contradictions in the town’s residents.
That is, much of the novel’s humor evolves from the futility that marks these characters. Raymer is an incompetent police chief. Sully has a bad heart, and refuses to acknowledge it. Moynihan is a failure as a mayor, and Roebuck as a businessman. And handyman Rub is the most incompetent of all.
The casual exchanges among these men reflect the shallowness of their character, which, in turn, betrays why this town is a failure compared to Schuyler Springs. But these exchanges also reveal Russo’s sympathy for them, along with their incompetence; which, in turn, keeps the reader involved in their escapades and in this novel. And which also reflects the work’s facetious title, as it suggests the incompetence of everyone, especially in its focus on Chief Raymer.
The major disappointment I have in this novel is its looseness, its moving simply from the foibles of one character to those of another. The result is the portrait of a town and its failures, and yet not a commentary on the reasons behind those failures. For it likes its characters too much. That is, Russo does. Only the violent Roy is condemned. (Indeed, Russo says he took a shower after writing each of Roy’s chapters.)
A final disappointment is the ending, which brings peace, satisfaction, or happiness to these incompetent characters. It is too arbitrary for me, reflecting too much of the author’s sympathy for these people he has created. More appropriate for this town would have been some irony that continues the frustrations confronting these basically incompetent citizens.
As Russo approaches the end of his distinguished career, it is heartening to see him again take a serious approach to small town life. Perhaps the humor is intended to take the edge off the novel’s seriousness, and therefore attract more readers. I will accept that. I just wish the characters could have been more involved with each other, instead of living their own separate lives with their own separate problems. Perhaps such complexity is too much to handle for an author in the later stages of his career. Which does make one wonder how complex, how probing, future Russo novels will be. (November, 2017)
A LITERARY CAVALCADE 