As in Jeffrey Eugenides’ Pulitzer winning novel, Middlesex, the story of Archie begins two generations back.
His paternal grandfather is a Russian Jew that makes it to America speaking poor English and instructed by a friend to call himself Rockefeller when asked by the officials so as to sound more American.
Based on Colin Harrison's acclaimed novel Manhattan Nocturne (a New York Times Notable Book of the Year), MANHATTAN NIGHT tells the story of Porter Wren (Adrien Brody), a New York City tabloid writer with an appetite for scandal.
On the beat he sells murder, tragedy and anything that passes for the truth.
It soon becomes clear, as the lines are drawn longer angling further from each other that the book follows Ferguson 1 then Ferguson 2 on to Ferguson 3 and finally to Ferguson 4 throughout childhood to enter back with Ferguson 1 in adolescence and so on.
Psmith–the P is silent–is a languid young gentleman who has a talent for winning people over with his eloquent speeches and quick wit.
Many critics in popular literary journals and newspapers I found online begin their reviews of 4 3 2 1 by comparing it to Paul Auster’s previous novels.
Now, 4 3 2 1 is my first experience with Auster’s writing, but the point most of these reviews are trying to make is that the one noteworthy difference between his latest novel and Auster’s previous work is the size.
Archie’s life takes four different paths at the moment he draws his first breath, as the exploration of the road not taken becomes an epic story of possibilities, destiny and chance revolving around one boy who lives, loves, learns and exists in four different lives.
How would your life be now if some moments happened differently?