From the award-winning author of 10:04 and Leaving the Atocha Station, a tender and expansive family drama set in the American Midwest at the turn of the century: a tale of adolescence, transgression, and the conditions that have given rise to the trolls and tyrants of the New Right
Adam Gordon is a senior at Topeka High School, class of ’97. His mother, Jane, is a famous feminist author; his father, Jonathan, is an expert at getting “lost boys” to open up. They both work at a psychiatric clinic that has attracted staff and patients from around the world. Adam is a renowned debater, expected to win a national championship before he heads to college. He is one of the cool kids, ready to fight or, better, freestyle about fighting if it keeps his peers from thinking of him as weak. Adam is also one of the seniors who bring the loner Darren Eberheart–who is, unbeknownst to Adam, his father’s patient–into the social scene, to disastrous effect.
Deftly shifting perspectives and time periods, The Topeka School is the story of a family, its struggles and its strengths: Jane’s reckoning with the legacy of an abusive father, Jonathan’s marital transgressions, the challenge of raising a good son in a culture of toxic masculinity. It is also a riveting prehistory of the present: the collapse of public speech, the trolls and tyrants of the New Right, and the ongoing crisis of identity among white men.
Potentially Sensitive Areas: Drugs; Marijuana; Strong language; Strong sexual themes; Underage drinking; Violence
Booklist starred (September 1, 2019 (Vol. 116, No. 1))
The messy relationship between masculinity and language drives this seeking, eloquent story by poet-novelist Lerner (10:04, 2014; Leaving Atocha Station, 2011). Adam Gordon (maybe the same Adam Gordon as in Leaving Atocha Station, maybe not) is a debate-team prodigy. The son of talk-therapy professionals, Adam loves poetry and believes in the power of words. At parties, after a few drinks, freestyle rap keeps him out of fights, unlike his damaged classmate Darren, whose violent impulses are neither sublimated into nor constrained by mere words. Seeking early stirrings of today’s sociopolitical tensions in 1990s Kansas, Lerner interrogates Adam’s personal origins, dependency upon language, and the complicity tacit in his adolescent oblivion. Chapters narrated by Adam’s psychologist parents reveal other masculine transgressions and suggest that Adam’s issues are not his alone. The ekphrastic style and autofictional tendencies echo Lerner’s earlier works, and his focus on language games and their discontents fits nicely within the 1990s setting. But the fear at the core of this tale—that language, no matter how thoroughly mastered or artfully presented, simply isn’t enough—feels new and urgent.
Kirkus Reviews starred (June 1, 2019)
In which the author scrupulously investigates his upper-middle-class upbringing to confront its messy interior of violence, betrayal, and mental illness. Adam, the center and occasional narrator of Lerner’s (The Hatred of Poetry, 2016, etc.) essayistic and engrossing novel, enjoyed a privileged adolescence in the Kansas capital during the 1990s: He competed nationally in debate, had plenty of friends, and was close to his parents, two psychologists at an illustrious foundation. (Lerner is again in autofiction mode; he, too, competed in high school debate, and his parents are psychologists who’ve worked at Topeka’s Menninger Clinic.) But all is not well: Fred Phelps’ homophobic Westboro Baptist Church recurs in the narrative, a childhood concussion has left Adam with migraines, and his parents’ marriage is strained. Lerner alternates sections written from the perspectives of Adam, his mother, and his father with interludes about Darren, a mentally troubled teen who committed an act of violence at a party that Adam feels complicit in. How much? Hard to say, but the book sensitively gathers up the evidence of abuse, violation, and cruelty in Adam’s life. Though the conflicts are often modest, like Adam’s mom’s fending off Phelps-ian trolls angry at her bestselling book, Lerner convincingly argues they’re worth intense scrutiny. As a debate competitor, Adam had to confront a “spread”—an opponent’s laying out a fearsome number of arguments, each requiring rebuttals—and Lerner is doing much the same with his adolescence. How do childhood microaggressions build into a singular violent act? Were the rhetorical debates between the Phelpses and the foundation a rehearsal for contemporary Trumpian politics? Few writers are so deeply engaged as Lerner in how our interior selves are shaped by memory and consequence, and if he finds no clear conclusion to his explorations, it makes the “Darren Eberheart situation” increasingly powerful and heartbreaking as the story moves on. Autofiction at its smartest and most effective: self-interested, self-interrogating, but never self-involved.
About the Author
Ben Lerner is the author of three books of poetry (The Lichtenberg Figures, Angle of Yaw, and Mean Free Path), three novels (Leaving the Atocha Station, 10:04, and The Topeka School) and a work of criticism (The Hatred of Poetry). His collaborations with artists include Blossom (with Thomas Demand), The Polish Rider (with Anna Ostoya), and The Snows of Venice (with Alexander Kluge). Lerner has been a Fulbright Scholar, a finalist for the National Book Award, a Howard Foundation Fellow, a Guggenheim Fellow, and he is currently a MacArthur Fellow. In 2011 he won the “Preis der Stadt Münster für internationale Poesie”, making him the first American to receive this honor. Lerner teaches at Brooklyn College, where he was named a Distinguished Professor of English in 2016.
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