Kindle. Prompted by the many positive reviews.
Szalay goes about it with clear intent: this is a portrait of a bloke, just like Small Things Like These, whose interiority is inaccessible to us. Life mostly just happens to him and he is mostly not disappointed, perhaps because it's mostly about sex and he rarely has to ask. He starts out in spartan post-Communist Hungary, living with his mother, where the cracking (and much remarked upon) first chapter reveals his irresistibility and easy facility with violence. (All descriptions are specific, sparing and not especially graphic.) After a bit more scene-setting but no foreshadowing or forethought we're taken to London for what I expect are Szalay's favourite topics: extreme wealth, luxe consumption, brand names, high-end real estate/development deals, art of the kind that is hung on walls, inheritance, shamelessness, blameless rise and fall. He doesn't hold the hands of those of us who don't live this stuff.
Szalay's prose is fine but never achieves the necessity of Atticus Lish's. It is often amusingly reductive. Presenting István purely as a surface works well but less so for the secondary characters such as Helen, the socialite married to a plutocrat; we see her reflected in her son's surprise that she's gone for such a protozoac man and wonder what her besties think. Nobody has a real job or career which means Szalay skips the most time consuming part of life that just maybe undergirds and circumscribes the substance. Despite its relevance to a bloke from Europe BREXIT goes unmentioned. The semi-solitary drinking "parties" ameliorate the COVID lockdowns for Helen. Almost all of it could have happened in the 1980s or, excepting the helicopter commutes between London and country piles and other inessential technological things, the nineteenth century.
But to what end? Is this supposed to be a Martin Amis sort of thing, a social commentary, a time capsule? (It's been too long for me but perhaps Money?)
Dwight Garner. Peter Craven: "No finer novel will be published this year." Keiran Goddard: "Szalay has written a novel about the Big Question: about the numbing strangeness of being alive; about what, if anything, it means to amble through time in a machine made of meat." (Not much?) All bone. Sean O'Beirne: "not one of Szalay’s best books; the best, by far, is All That Man Is." Too much plot (and I concur). Goodreads.
