Winner of the 2001 National Book Award for Fiction
After almost fifty years as a wife and mother, Enid Lambert is ready to have some fun. Unfortunately, her husband, Alfred, is losing his sanity to Parkinson's disease, and their children have long since flown the family nest to the catastrophes of their own lives. The oldest, Gary, a once-stable portfolio manager and family man, is trying to convince his wife and himself, despite clear signs to the contrary, that he is not clinically depressed. The middle child, Chip, has lost his seemingly secure academic job and is failing spectacularly at his new line of work. And Denise, the youngest, has escaped a disastrous marriage only to pour her youth and beauty down the drain of an affair with a married man-or so her mother fears. Desperate for some pleasure to look forward to, Enid has set her heart on an elusive goal: bringing her family together for one last Christmas at home.
Jonathan Franzen is the author of The Twenty-Seventh City, Strong Motion, and the essay collection How to Be Alone. He has been named one of the Granta 20 Best Novelists under 40 and is a frequent contributor to The New Yorker and Harper's. He lives in New York City.
"You will laugh, wince, groan, weep, leave the table and maybe the country, promise never to go home again, and be reminded of why you read serious fiction in the first place."--The New York Review of Books
"Marvelous . . . Everything we want in a novel--except, when it's rocking along, for it never to be over."--The New York Times Book Review
"Jonathan Franzen has built a powerful novel out of the swarming consciousness of a marriage, a family, a whole culture--our culture."--Don DeLillo
"Looms as a model for what ambitious storytelling can still say about modern life . . . Franzen swings for the fences and clears them with yards to spare."--San Francisco Chronicle
"The novel we've been waiting for...a stunning anatomy of family dysfunction...a contemporary novel that will endure."--Esquire
"In its complexity, its scrutinizing and utterly unsentimental humanity, and its grasp of the subtle relationships between domestic drama and global events....It is a major accomplishment."--Michael Cunningham
"Frighteningly, luminously authentic."--The Boston Globe
"A genuine masterpiece . . . This novel is a wisecracking, eloquent, heartbreaking beauty."--Elle
"The brightest, boldest, and most ambitious novel I've read in many years."--Pat Conroy
"Brilliant . . . Almost unbearably lifelike."--The New York Observer
"Funny and deeply sad, large-hearted and merciless, The Corrections is a testament to the range and depth of pleasures great fiction affords."--David Foster Wallace
"This is a spellbinding novel . . . that is both funny and piercing."--People