A Visit from the Goon Squad

by Jennifer Egan

Paperback, 2011

Call number





Anchor (2011), Edition: 1, 352 pages


Bennie Salazar, an aging former punk rocker and record executive, and Sasha, the passionate, troubled young woman he employs confront their pasts in this powerful story about how rebellion ages, influence corrupts, habits turn to addictions, lifelong friendships fluctuate and turn, and how art and music have the power to redeem.

Media reviews

It is neither a novel nor a collection of short stories, but something in between: a series of chapters featuring interlocking characters at different points in their lives, whose individual voices combine to a create a symphonic work that uses its interconnected form to explore ideas about human interconnectedness. This is a difficult book to summarise, but a delight to read, gradually distilling a medley out of its polyphonic, sometimes deliberately cacophonous voices.
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Publishers Weekly
Readers will be pleased to discover that the star-crossed marriage of lucid prose and expertly deployed postmodern switcheroos that helped shoot Egan to the top of the genre-bending new school is alive in well in this graceful yet wild novel. We begin in contemporaryish New York with kleptomaniac Sasha and her boss, rising music producer Bennie Salazar, before flashing back, with Bennie, to the glory days of Bay Area punk rock, and eventually forward, with Sasha, to a settled life. By then, Egan has accrued tertiary characters, like Scotty Hausmann, Bennie's one-time bandmate who all but dropped out of society, and Alex, who goes on a date with Sasha and later witnesses the future of the music industry. Egan's overarching concerns are about how rebellion ages, influence corrupts, habits turn to addictions, and lifelong friendships fluctuate and turn. Or as one character asks, How did I go from being a rock star to being a fat fuck no one cares about? Egan answers the question elegantly, though not straight on, as this powerful novel chronicles how and why we change, even as the song stays the same.
Jennifer Egan’s new novel is a moving humanistic saga, an enormous nineteenth-century-style epic brilliantly disguised as ironic postmodern pastiche. It has thirteen chapters, each an accomplished short story in its own right; characters who meander in and out of these chapters, brushing up against one another’s lives in unexpected ways; a time frame that runs from 1979 to the near, but still sci-fi, future; jolting shifts in time and points of view—first person, second person, third person, Powerpoint person; and a social background of careless and brutal sex, careless and brutal drugs, and carefully brutal punk rock. All of this might be expected to depict the broken, alienated angst of modern life as viewed through the postmodern lens of broken, alienated irony. Instead, Egan gives us a great, gasping, sighing, breathing whole.
Although shredded with loss, “A Visit From the Goon Squad” is often darkly, rippingly funny. Egan possesses a satirist’s eye and a romance novelist’s heart.
If Jennifer Egan is our reward for living through the self-conscious gimmicks and ironic claptrap of postmodernism, then it was all worthwhile. Her new novel, "A Visit From the Goon Squad," is a medley of voices -- in first, second and third person -- scrambled through time and across the globe with a 70-page PowerPoint presentation reproduced toward the end. I know that sounds like the headache-inducing, aren't-I-brilliant tedium that sends readers running to nonfiction, but Egan uses all these stylistic and formal shenanigans to produce a deeply humane story about growing up and growing old in a culture corroded by technology and marketing. And what's best, every movement of this symphony of boomer life plays out through the modern music scene, a white-knuckle trajectory of cool, from punk to junk to whatever might lie beyond. My only complaint is that "A Visit From the Goon Squad" doesn't come with a CD.
'A Visit from the Goon Squad' seems put together eerily like a record album--even nostalgically, one might say, except that Bennie Salazar, the music producer whom the novel bears with through several decadent decades, insists that "Nostalgia was the end--everyone knew that." Chapter for chapter the novel has the initial feel of a series of short stories--or songs on a CD--only gradually and implicitly interlocking to express a particular sensibility and outlook.
Egan tracks the members of a San Francisco punk band and their hangers-on over the decades is they wander out into the wider, bewildering world. In this hilarious, melancholy, enrapturing, annerving, and piercingly beautiful mosaic of a novel....Egan evinces an acute sensitivity to the black holes of shame and despair and to the remote-control power of the gadgets that are reorderng our world.
Kirkus Reviews
“Poetry and pathos . . . Egan conveys personality so swiftly and with such empathy. . . . Yet she is not a conventional dystopian novelist; distinctions between the virtual and the real may be breaking down in this world, but her characters have recognizable emotions and convictions, which is why their compromises and uncertainties continue to move us. . . . Another ambitious change of pace from talented and visionary Egan, who reinvents the novel for the 21st century while affirming its historic values.”

User reviews

LibraryThing member Smiler69
Somehow, I don't think saying that this book is about the music industry is doing it any justice, because is seems to be about so much more than that. But then, it's as much about music as anything else that is about time and voice and melody is, I guess.

We meet Sasha in the first chapter when she steps into the women's restroom at a hotel and is taken by the urge to steal the wallet from the handbag of an occupant of one of the stalls. We learn this incident took place on a date with a young man she met via the internet as she is retelling the incident to her therapist, who is trying to help her come to grips with her compulsion to steal things. We also learn that she used to be the assistant of one Bennie Salazar, a big player in the music industry. In the next chapter, we meet Bennie who is working through a series of shameful memories. He's sitting in a meeting, when his assistant Sasha appears and hands him a cup of coffee into which he mixes some gold flakes, an Aztec concoction to ensure sexual potency. "So this is going to be a story about this Sasha and this Bennie characters working through their issues", I think. Then by chapter three, we move to a first person narrative. This part of the story takes place in 1979. Our narrator is a teenager called Rhea, and she and a bunch of friends are part of a punk rock band trying to make it on the music scene; other than her there's also Scottie, Jocelyn, Alice, and a young Bennie Salazar, who Rhea happens to have a crush on. Her best friend Jocelyn is having an affair with a fortysomething year-old called Lou, which all makes for plenty of sex, drugs and rock'n roll. "We've got multiple points of view and we keep going back in time", I now think. By chapter 12, which is told by one Alison Blake via powerpoint slides sometime in the future, I think: "multiple perspectives through time with characters related by causality. An interesting exploration into storytelling approaches." Then, with the thirteenth and last chapter I think—not for the first time—that this novel is just too gimmicky for me and that those Pulitzer prize people really are off on a very high literary cloud that most regular folk can never hope to come close to, including me. But then, something happens because I haven't quite gotten to the end yet, and I catch myself wishing I wasn't so overbooked again this month, because I really wouldn't mind reading this one all over again, maybe a couple of times even, to figure out just what it is that Egan has done to somehow get this strange brew to actually work the way it does. So she must have done something right, right?… (more)
LibraryThing member brenzi
I seem to have read a fairly large number of books recently that are comprised of inter-locking stories. There was “Olive Kitteridge,” and “Other Rooms, Other Wonders,” and also the quirkily original “The Imperfectionists.” Enter Jennifer Egan’s “A Visit from the Goon Squad,” a very clever book that turns those other books on their heads. She not only creates a series of interconnected stories, weaving them back and forth in time, but includes, I believe for the first time, a chapter presented in PowerPoint mode. She’s good enough that none of it seems contrived or gimmicky. It all works beautifully.

The stories are centered on the lives of Bennie Salazar, an aging former punk rocker and record producer and his one-time assistant Sasha and span the years 1979 through about 20 years into the future. This is much too complicated a plot to try to summarize and it is a book that I will try to reread in the next six months because I think that is how the stories will gel for me. A very interesting yet very challenging read, there were times when I couldn’t pin down the time frame and then Egan would throw out the words that would immediately solidify when the story was taking place without giving the actual date. She draws connections and parallels between her characters and the dying music industry because this is, above all, a book about rock and roll. Patterned after albums which have an A and B side she is able to draw comparisons to her struggling characters lives: an overweight, down on his luck rocker; a young girl with a stealing propensity; a has been publicist who tries to resurrect her career on the back of a Central American dictator and a washed-up actress; a young journalist who loses control of his story and himself as he tries to rape the young actress he’s interviewing; and along the way the story seamlessly turns in on itself and makes for a fascinating mosaic.

The closing chapter, which takes place in the future, reveals how society may have evolved about twenty years from now and the author chooses her words carefully:

“Rebecca was an academic star. Her new book was on the phenomenon of word casings, a term she’d invented for words that no longer had meaning outside quotation marks. English was full of these empty words---“friend” and “real” and “story” and “change”---words that had been shucked of their meanings and reduced to husks. Some, like “identity,” “search,” and “cloud,” had clearly been drained of life by their Web usage. With others, the reasons were more complex; how had “American” become an ironic term? How had “democracy” come to be used in an arch, mocking way?” (Page262)

Smooth, polished writing carries you along and Egan’s ability to draw deep, complex characters and to connect to the reader with great storytelling makes each story compelling and able to stand on its own. But it is as you start to make the connections that you find yourself smiling at the ingenuity of the narrative. Highly recommended for the reader willing to be patient for the big reward.
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LibraryThing member dmsteyn
A curious book, both well-written and moving, but also sometimes perplexing. I liked the fact that the book challenges some time-honoured novelistic conventions, but these challenges to literary customs sometimes led to a disjointed feel. The book is certainly interesting and unusual in its structure, but does not let these postmodern tricks get in the way of an engaging and delightful story.

The book deals with a large cast of characters, each connected to the others through a six-degrees-of-separation kind of synchronicity. Each chapter of the book is a bit like a short story, in that they seem to stand on their own, but there is a definite progression through the book that lends it a coherence that might seem to be missing initially. With each new chapter, one feels a little disoriented, as the characters at first seem to have nothing to do with the previous chapter’s cast. But, gradually, one realises that there are tangential connections between the characters in each chapter. Often, Egan makes a character who was very marginal or only briefly mentioned in a previous chapter, the focus point of the new chapter. As I mentioned, this lends a disjointed feel to the novel – not necessarily a bad thing. Egan manages to deftly interweave the different strands of her story, even if the ending of the book seemed far-fetched to me. A personal quibble.

I found most of the experimental writing interesting. Egan has a whole chapter presented in the form of various charts, which is supposedly the way in which future generations will post things on the Internet. Hmm, possibly, but unlikely. In any case, this kind of speculation adds to the interest of the novel. And, although I am a bit more of a traditionalist (with a dislike for pictures in novels – I’m looking at you, Incredibly Loud and Extremely Close), this seemed to work better than most attempts at introducing other media into novels. I also found the references to the music industry fairly enlightening and absorbing.

Did it deserve the Pulitzer? Dunno. I liked it. It has definite humour, but also gravitas and an emotional core. Even if you do not like postmodern smoke and mirrors, this book has enough else going for it to be worth at least a dip.
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LibraryThing member baswood
A Visit from the Goon Squad is smart, witty, sassy but ultimately as empty as the lives depicted in Egan’s novel. It won the Pulitzer prize for literature, whose criteria for selection seems to be a closely guarded secret all that we know is that the selected book should be concerned with American Life, but this is American life almost reduced to the level of sound bites. Chapter 12 “Great Rock and Roll Pauses is set out like a power point presentation, but only succeeds in being pointless. A great way to fill out space perhaps as it takes up 74 pages: that’s getting on for a quarter of the novel.

The thirteen chapters of this novel play out like a series of short stories centred around the circle of friends, relations and business associates of Bennie a record company owner and then record producer after selling his company. The stories are connected by the characters in them and references back to Bennie, they go forwards and backwards in time and some are told in the first person. They are all well written in a glib superficial prose style that can appear more conscious of leading up to a wisecrack than in developing plot or character. We suspect that the sort of people that hang around record company and advertising executives are a shallow bunch and Egan does nothing to dissuade us here.

It is a fast paced entertaining read and the short story idea works well as one of the main themes of the novel is connections and while connections are not immediately obvious when we start a new section, Egan soon skilfully makes them for us. It is also a critique of American society and points towards an uncertain future, but we have all heard this before and the smart ass writing keeps getting in the way. Don’t get me wrong I enjoyed it, but it felt more like a well scripted American movie than a prize winning piece of literature. 3.5 stars.
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LibraryThing member rmckeown
If someone set out to write a book that would frustrate all believers in the “Rule of 50,” this book would win the prize. A friend recommended this book, and she has a good track record with me, so I decided to read it. I struggled past the first fifty pages with characters I did not like, and a story line I had difficulty following because of all the bungie jumps through time. Only occasionally did a clue appear hinting at a time shift.

Another annoying habit of Egan’s involved her suddenly telling the reader what would happen to a character in the next 20 or 30 years. She often dropped these as an afterthought at the end of a chapter.

Egan wrote one chapter entirely in second person. A cheap trick and a tired gimmick, if you ask me. Chapter 12 took the form of a power point with flow charts and pie graphs. Like the form in its usual incarnations in business meetings, this chapter had “No power and no point.” I could not even begin to tell you what ideas this chapter tried to convey. All I got out of it was a well-scratched head.

The characters who populate this story had not one ounce of charisma – except for a few women characters drooled over by some of the men. Second-hand charisma is phony.

A Pulitzer Prize? Give me a break. A Visit from the Goon Squad doesn’t even come close to any book awarded the Booker Prize.

This novel is gimmicky and not worth the read. 1 star

--Jim, 7/4/11
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LibraryThing member mrstreme
A Visit from the Goon Squad has been nominated for almost every major award, including winning the 2011 Pulitzer Prize for Fiction. What makes this book by Jennifer Egan so great? While I am no literary critic, I do believe the allure of Goon Squad lies in its characters. For me, the characters tie the entire story together.Each characters' experiences may have been different, but their lives were somehow intertwined. It made for a rich story that kept me turning the pages.

There are many characters in this story, but the focal point of the book are two: Bennie and Sasha. Bennie is a music producer whose early years were spent in the San Francisco punk scene. Sasha was Bennie's assistant - a kleptomaniac who struggled with intense personal losses. Around them orbited secondary characters, including: Scotty, Bennie's friend from high school who played the slide guitar; Teddy, Sasha's uncle who travels to Naples to find Sasha but gets distracted by Naples' art; Rob, Sasha's college friend who drowned in the East River; and Rhea, another high school friend of Bennie's who manages to escape the punk scene relatively unscathed. With each secondary character, you learn more about Bennie or Sasha, until the end when you meet Alex, the one character with ties to both. This circular fashion of storytelling reveals so much about the characters - adding layers of complexity to each one.

Admittedly, one of my favorite chapters is the "PowerPoint chapter" - crafted by Sasha's daughter, Alison. I enjoyed how Egan presented Alison's story through the slide deck. It was effective and creative, and stretches the imagination of the reader. I never knew that a great story could be told through PowerPoint, but in Egan's competant hands, Alison's story was full of emotion and love. PowerPoint has never been warmer.

Once you've settled in to Egan's writing style, A Visit from the Goon Squad takes off like a roller coaster, bouncing you through twists and turns that you don't see coming. This book won't be for everybody, but I think readers who enjoy character-driven fiction will find The Goon Squad to be an enjoyable and insightful read.
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LibraryThing member CarolynSchroeder
I was not as enamored with this book as it seems most readers were. I thought it was creative/unique in spots, mostly in structure, and the author did a good job of intertwining all the people's stories (basically a new one with each chapter) over various timeframes and locations. But overall, these people just did not have much to say, nor anything new or interesting about the whole music scene/industry (e.g., creepy 40-something loser producer guy does cocaine whilst receiving blowjob backstage by smitten teenage groupie, yawn). In addition, I did not find one of these characters likeable. They were quirky, lost, sometimes a bit humorous, but that was about it. The thing that made me keep reading is quite simply, Egan is a really good writer. She engages you and no question she has talent, I just wish she used her skills for characters a reader could care about. Part of what I gather the suspense was, was finding out what happened to certain people over the generations. Sadly, I did not really care and when I found out, I'd just go "oh well." The last few chapters (absent the PowerPoint one, that was kind of funny), were a chore. I really cannot recommend this one and I really do not understand all the hoopla.… (more)
LibraryThing member suetu
What happens between A and B?

After reading a few chapters of Jennifer Egan’s latest novel, A Visit from the Goon Squad, I’d determined it was really a collection of linked stories more than a novel. Reading further, however, I saw the larger themes and the cohesiveness of the whole. It is, indeed, a novel, and an excellent one at that!

The book opens sometime in the past—the late 90s, I’m thinking—and kleptomaniac Sasha is recounting a story to her therapist. Her former boss, record producer Benny Salazar, is mentioned in passing. The next chapter takes place several years earlier. Here Sasha is still Benny’s assistant, and now it is he that is the first person narrator. Benny’s just trying to get through a visit with his pre-teen son while mentally stifling a lifetime’s worth of shame. He reflects, in passing, on his old high school gang, and in the next chapter we’re back in San Francisco, circa 1980, with them. Benny wants Alice, but Alice wants Scotty. Scotty wants Jocelyn, but teenage Jocelyn is seeing Lou, a record producer more than twice her age. Don’t worry, he’ll get his chapter.

They all get a chapter or two or three. The story skips back and forth in time and place. The voice moves from first person to third person and even to second. Asides or characters that seemed tangential become central. And eventually several themes become apparent. The main one is not even subtle, as the traversing between points A and B is referenced several times in various ways. Scotty at one point asks, “I want to know what happened between A and B.” An aging rock star’s comeback album is entitled A to B. Even the two sections of this book, which might have been labeled “Part I” and “Part II” in another book, are here “A” and “B.”

Another theme is the passage of time. The novel, as I mentioned earlier, moves back and forth freely along the timeline of characters’ lives. Ranging from around 1980 to some point in the 2020’s, we see the (often ravaging) effects of time.

One character states, “Time’s a goon, right? Isn’t that the expression?”
Another responds, “I’ve never heard that. ‘Time’s a goon?’”
“Would you disagree?”

The episodes that Egan spotlights are all, in some way, transformative for her characters. And let’s talk about those characters. Reviewers like me will often extol “richly-drawn characters.” It isn’t until I read a novel like this—with insight so deep that you feel you know everything it’s possible to know about these people based on brief snippets of their lives—that it really hits home what characterization is all about. Egan is THAT good.

Plus, there’s the language. Her prose is truly a pleasure to read, no matter how absurd or at times unpleasant the subject matter. Egan’s pointillistic novel roams from the New York music scene to an African safari; from the affluent suburbs to life on the edge in Naples, Italy; from a dictator’s palace to our collective future. And in careening from place to place, time to time, and character to character in these linked lives, Jennifer Egan takes us from point A to point B.
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LibraryThing member detailmuse
A Visit from the Goon Squad is a novel in linked stories about a punk-rock record producer, his assistant, and their families, friends and colleagues as they grow (and decline) from who they were to who they are and who they’ll be. Think of it as a montage -- a soundtrack album, each of its stories (songs) memorializing key aspects of a larger saga.

And then Egan puts those key bits in a blender and they come out zigzagging between the 1980s and a dystopian 2020s; between San Francisco, New York City, Africa, and Italy; through various characters, tenses, points of view and narrative forms (including a magazine article with footnotes evocative of David Foster Wallace, and a 12-year-old’s slide presentation that’s nearly graphic-novel format). The structure borders on showy and distracting, but it’s also very fun and the stories are good -- the most extensively (and effectively) linked collection I’ve read yet.

(Review based on an advance reading copy provided by the publisher.)
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LibraryThing member phredfrancis
This relatively breezy read took more effort to get through than I ever would have expected. I can't fault it for structural cleverness (interconnected stories with a temporal sweep of approximately 50 years), literary craft (Egan seems to go out of her way to display multiple points of view and storytelling styles), or theme (we were all once young and gave almost no thought to those older than us, and we all become old and are bewildered by those younger than us). The literary world got very excited by the book and bestowed upon it the Pulitzer Prize and the National Book Critics Circle Award. In circumstances like this, I am always confused by why the magic failed to work on me, and thus my review of the book tends to feel more like a series of excuses than a proper critique.

Still, no reader is here to agree with the majority opinion, and I am not rejecting the book outright and claiming it lacks many of the qualities others might marshal in defense of its greatness. Perhaps I expected too much, as I never really considered reading the book until after it had done gathering in its accolades, so I was primed for a Really Great Read. What I got was, in my opinion, a Sometimes-Good Read that had untapped potential to be more the kind of book I might wholeheartedly endorse.

Perhaps the key to my dissatisfaction comes in the way the book has been presented. It is no secret that this is a book of short stories, not a novel. As such, it has no chance of immersing readers in the transcendental manner of a novel. No sooner is a character introduced and lightly explored than he or she is shuttled aside and we start again. True, the connections are all there, and one can play the spot-the-linkage game throughout the book, but that comes to feel more like a pastime once it becomes clear that we will never once circle back for greater continuity on any of these stories. Here is Sasha when she's relatively young, and there she is in a supporting role of Benny's story, and here she is in college, and there she goes in her precollege days that we heard a bit about, and then she's spotted in the oft-referenced story told in Powerpoint, and finally she's hovering as a figment of recollection in the final tale. Yet for all that, she becomes only slightly more of a fully realized character than she was in the one story in which she is the main character. Some of her traits and tendencies are explained, and we're given some clue about her future, but all I know about this character after all that is she has some sadness in her and is hard to know.

It does not surprise me to discover that HBO is developing the book as a series, because the elements of television are all there. The stories have a variety of interesting settings and numerous characters that will probably benefit more from being embodied than they were in being described. There are anecdotes and flashbacks set within the plot structure of the stories too, so the screenwriters and directors can have fun with that. But more to the point, what I found is that there is a superficiality to the characters and their plights that have more in common with TV than with books. The sentimentality of many of the stories might resonate with viewing audiences. The lingering images that stand in for understanding or revelation will convince those that see them that something important and moving has been communicated.

Most of my criticisms apply to the collection as a whole or to a select few stories that felt overperformed (the Powerpoint story is animated by nothing more than rock critic obsession and Hallmarkian family sweetness). Some of them worked well on their own terms, and I would have welcomed additional stories that stuck with these characters and drew me into their world more fully. I have considered and reconsidered the reductive rating I'd give this book, but finally arrived at one that is lower than I expected it to be. It's a rating informed by my experience of the book, not by a more objective reckoning. If this book were being graded for its themes and experimentation, it would definitely earn higher marks. But quite honestly, this book irritated me as much as--perhaps more than--it entertained and informed me, and therefore I can't say that I liked it. I will remember it, and I might even reconsider it at a future date, but right now I'm just glad it's over.
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LibraryThing member msf59
"Time's a goon, right?” asks one of the characters, in this remarkable collection of stories. Interesting question. Time passage and it’s daunting inevitability, is one of the themes in these inter-locking tales, that all seem to circle around an aging punk rocker, named Bennie Salazar, now a fading music producer. Music and human connections play a big part in these characters lives, as they grapple with an unsteady future. Actually the last story focuses on the year 2020 and people find themselves unable to communicate verbally, being much more comfortable texting each other! Highly ambitious and very well-written. I will be reading more of Egan’s work.… (more)
LibraryThing member megantron
TL;DR version: don't buy into the hype.

this book is irritating on so many levels. whatever jennifer egan says, this is mostly a glorified short story collection rather than an actual novel. (as a novel, it doesn't work. period. as a short story collection, it's average.)

the characters are unlikable (this book is like THE definition of #WHITEPEOPLEPROBLEMS) and the format is gimmicky. for example, one chapter is (infamously) presented as a powerpoint presentation. Now, I was once six years old, and while I didn't have MS Powerpoint as a kid, I did have WordArt and a Microsoft Publisher-esque program called Greetings Workshop. I spent many long hours using these programs to type out stories in rainbow fonts, make news articles, and design book covers so it's not like I think the concept of a 12-year-old girl using powerpoint rather than a traditional diary to chronicle her feelings is that strange. (as you might expect, I was not a very popular child lol). HOWEVER, if Jennifer Egan expects me to believe that this story NEEDED to be told in ppt format rather than in a traditional format, then homegirl is sorely mistaken. There is an emotional beat in the story (and to be fair, Egan is really great at emotional beats) that MIGHT have only worked using the ppt format, but at the same time, I'm not really sure if that payoff was worth the gimmicky format. oh and e-book users beware --this chapter is not fun to read on your kindle.

It's not just one chapter either --another chapter is written as a magazine interview with (groan) FOOTNOTES. this novel has been called post-post-modern, whatever that means. egan herself disagrees with the label. there's actually nothing truly experimental about this novel (if using .ppt format is revolutionary, then I weep for the state of American literature); it's pretty much standard New Yorker-fare. plus, all the references to modern life --AIMspeak (nothing says second-hand embarrassment like authors trying to imitate youth slang), 9/11, millenials, Gawker-- just had me RME and SMDH.

As for the good things: when Egan stops fishing in her bag for cheap literary tricks, she actually writes pretty well. There are some sentences that I want to underline again and again, and like I said, she really knows how to write those emotional beats. She is marvelous at ending stories --some of them are so exquisite, they almost make up for the other 5000 words you were forced to read.

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LibraryThing member stonelaura
It's really more like I admired it rather than liked it, as the three stars suggests. Egan is very talented and does a good job of linking the various characters in this(yet another)novel-as-short-story-collection, although you still may need a spreadsheet to keep it all together. She creates great characters, great dialog and captures a time and place, but don’t be expecting a neat chronological novel. The chapters jump all over time and place, often without clear indication of who we’re supposed to focus on until well into the chapter. Each chapter, including the long Power Point presentation, is interesting, but I often wanted to know more and read more about a character only to find the chapter ending. Like other great novels-as-linked-stories such as “Olive Kitteridge,” “Let the Great World Spin,” and David Mitchell’s “Cloud Atlas,” you’ve got to admire the work, but I still came away feeling a bit cheated.… (more)
LibraryThing member mausergem
This Pulitzer Prize winner book of 2010 comprises of stories with characters recurring in different stories. We can see it as a coming of age stories of people in New York.

We have here a hard working musical executive, his kleptomaniac assistant, her confused and rapist journalist brother, a film actress whom he molested, a bi sexual guy, a publicist and her clever daughter. The myriad of characters gives you a glimpse of the life in the Big Apple and how it will change in the coming few years.

There are chapters in word excel and writings in mobile texts. All in all it makes for a entertaining read.
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LibraryThing member amybrojo
This was hard to start. The chapters each focus on different time periods and characters that are loosely related. It wasn't as music industry insider as I thought it would be. Her idea of the near future is interesting. All in all- OK.
LibraryThing member juli1357
Although I found parts of the book interesting, as a whole, it didn't work for me. The story is too disjointed and the character development superficial at best. If it hadn't been a book club selection and won a major prize, I wouldn't have finished it. I hated the chapter that was written as Power Point slides. It felt gimmicky and reminded me of David Eggers' AHWOSG, another book I felt was overrated. The ending was implausible (Scotty as a major recording artist? Really?) and underwhelming. I don't know what the other contenders were, but I cannot begin to fathom why this book won the Pulitzer Prize.… (more)
LibraryThing member laweiman
I started reading this book three times and until this last week in January, I wasn't able to complete it. Each time I started from the beginning and each time I thought, "hey, this is great writing." But, what inevitably happened as I plodded my way through this book was I lost interest in the characters. I didn't find them people I cared about. I didn't connect with them or understand their issues. I felt they were whiny and self-centered. In finally forcing myself to finish the book, I can say that I think Ms. Egan is a very good writer. She can craft beautiful sentences and make a scene come alive. And, I commend her for playing around with structure and time and new forms of reaching out to audiences. Unfortunately, for me, I just didn't care for the story, and had the book not won the Pulitzer Prize in 2011, I probably would not have forced myself to finish it to see what all the fuss was about. (Four stars for writing and creativity, and two stars for the basic storyline, IMHO)… (more)
LibraryThing member vplprl
What a great book! In Egan’s thoughtful meditation on time, her characters seem to randomly connect in a series of life-defining moments. Time also has its affect on language - from media sound bites, to flow-chart diagrams, and, finally, the abbreviated language of text message. The music playing in the background serves as a soundtrack for her character’s lives.… (more)
LibraryThing member Periodista
Not a terrible book, but I’m so disappointed. Waay overhyped, as many have noted, and I didn’t realize until now that it had won so many prizes. The publisher could have lessened the animosity by stating point blank on the jacket flap that this was a book of interrelated short stories instead of “interlocking narratives.” Yeah, right.

Nothing wrong with shifting POV with each chapter but the reader shouldn’t feel obliged to sort out the characters and relationships anew with each new one. Adding to the confusion is that, whether in first or third person--let’s try to forget that second-person attempt and the Power Point—they’re all the same neutral narrative voice and style. Nothing distinctive, experimental or age- or era-specific.

Given how many books Egan had behind her, I was surprised by how much these individual stories resembled the products of graduate creative-writing classes. They all consist of conventionally formed short stories or single-act plays: vivid central scene or series of scenes taking place in a short timespan. There’s an incident or shared moment or transcendental insight. Then shoot fast-forward: death or divorce or they all lived happily ever after. Theme: the inexorable pile-up and speed of time and aging.

Besides referring to some members of a cast of characters at different points in time between the late 1980s/early 1990s and some vague ill-drawn time in the 2020s, the stories are linked by um motifs of music/ musical instruments,* stuffed animals, blonde/red hair, beds, couches, drugs (tho Egan is really only acquainted with pot and hash), ball sports, velvet, swimming and pools, the strangeness or unknowability of one’s own children, suicide attempts, views (from high floors, of city expanses, sunsets)

Anyone else notice, tho, how poor Egan is at depicting landscapes or cityscapes despite all the references? Even Naples. The ‘stan chapter was particularly embarrassing, exposing ignorance of both pr tactics and the behavior of dictators. That one might have worked, btw, if Egan could have emulated a Gary Shteyngartian style and voice—a slight hyper-reality, an amped-up reality at one remove from the one we’re generally familiar with. But of course then you have the problem that all the other chapters, are stuck with that same neutral, impersonal voice.

*Though after the first chapter punk-era Bay area, not what each period’s soundtrack sounded like!

Enough complaining for the moment. Egan has strengths. She’s very attuned to the ebb, flow and pull of conversation between intimates. Even considered as stand-alone short stories, the intimate nature of relationships is quickly established. The shared feeling, how we draw on our feeling histories with each other, the realization that the bond isn’t there anymore. In the second-person story (told by this Rob person before he drowns in the East River), there’s the feeling that propels Rob to tell Drew too much (about Sasha). It’s a gift that backfires, but an attempt to tighten his relationship with this guy.

I must agree with many others: my interest steadily diminished after the first third. Surely no one really read through that entire Power Point chapter?

I thought, was hoping, after the initial chapters that I was going to learn something about the music business, at least how it worked in the punk era. What made Benny such a talent spotter? What did he hear? How did he sense the Next Big Thing? How do you know you’ve lost the touch? How did the Walkman change the business, etc. Egan was probably in late high school or at least paying close attention to music in the punk period. Then she lost interest and I’m afraid to say was too lazy to do any further research.

I had to drag my way through that last chapter, carping all the way about all the premises of the near future. If it’s half-assed presentable, the doubts shouldn’t hit until after the book cover is closed. If she had finished writing a year or two later, maybe at least she would have caught on to the smartphone or iPad interface. Instead: typing, ouch.

How about the premise that babies and toddlers would be music trendsetters for, I dunno, just about everybody? Well, duh, the structure and melodies that little kids like aren’t some great mystery. Sesame Street, Disney and whoever wrote the ABC song or Twinkle, Twinkle Little Star knew that. A computer could be churning those out if it’s not done already. And how are people paying for music? How has the piracy problem been aced?

Then generalizations about "this generation" whether its habits or tastes. Not that crude marketing demographics were ever much use, but web programs (ask Amazon) demonstrated pretty early on that people that like or do a, b, c and x, y, z are more similar (and thus you can make predictions of what they *will like*). Their age alone doesn't tell you much at all. Nor does the addition of race, religion, nationality, etc. Didn't Malcolm Gladwell point this out years ago?

In a related matter, she totally ignores the splintering in musical tastes and genres, which if it continues ... well, a good speculative fiction writer, like Margaret Atwood, would run with that. The idea of paid influencers is OK but you have to deal with the micro-forums where fans of each sub- sub-genre congregate and make lists. I had more carping but I guess that gets my point across.
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LibraryThing member Capfox
I bought this book on recommendation as a present for my brother-in-law’s girlfriend, and so I figured I should probably read it before she came back to ask any embarrassing questions about what I thought of it. All I knew at the time was that the clerk at the bookstore really liked it, and that it had won a prize, and that was enough, but you don’t want to let too much time go by and then have the book come back to bite you.

Certainly, that’s the case with a book like this, which is really on some level about time and how it affects people. There’s a very loose web of connections between all the characters who keep popping up in each other’s stories, spouses and parents and co-workers and dates, interviewers and producers and uncles and PR experts. It’s probably closest to say that the story is most concerned with Bennie Salazar, a punk bassist turned music producer, and his assistant, Sasha, but there are so many other characters that get a turn in the writing limelight, all interesting and vividly evoked when their turn comes up, and so it’s hard to say that it’s really specifically about any of them. It’s really about how time gets to everyone, and the ways in which people can be connected, without even really thinking about it; I have a bet that if I read the first half of the book again, I’d notice a whole bunch more connections I missed the first time.

The style of the book is varied, as well, from a travelogue trip to Italy to a celebrity interview to an extended second-person riff from a suicidal college student to the first time I’ve seen an extended Powerpoint presentation as a storytelling advice, put together by a girl in the near future. The tone, then, can be satire, can be tragic, can be wry forecasting of the future; chapter to chapter, things keep changing, but the assuredness of the prose and the preciseness of the story are always there. God knows how long it took Egan to map out all the connections, and where they’d show up.

I think what I like best about this is how you essentially see none of the characters seriously in their best moments. You hear about them, you may even see them fleetingly, but the story is concerned with the rest of the time in your life, where things aren’t as settled, where you’re looking ahead or, particularly, behind at the rest of your tenure on the planet. Most of life is like that, after all; a lot of it isn’t the exciting parts.

But that’s not to say that this book isn’t exciting; it’s a solid, interesting, varied read, and I quite enjoyed it. It’s not life-changing, but it’s expertly done and intricately constructed, and I can recommend it, when you think it’s about time.
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LibraryThing member RandyMetcalfe
Once you get past the fun of a “novel” whose chapters are each written from a different viewpoint and at different times in the lives of a loose collection of bridge-the-century Americans. Once you get past the clever second person narrative chapter, or the PowerPoint essay chapter, or the gonzo journalism interview chapter, or the Shteyngartesque future history chapter. Once you get past being even grudgingly impressed with the bravado. You will feel sad. Because the overriding emotion that Jennifer Egan’s impressive post-post-modern “novel” evokes is sadness. At least for me.

Most of the narrative voices in A Visit from the Good Squad are crushed by regrets for things done or things they will do, mingled with nostalgia. Or perhaps all nostalgia is somehow rueful. Even the child narrator of the PowerPoint chapter (it’s not so strange; there have been PowerPoint “story” templates for child educators around for years) is weighted down with fears of a planet in mass decline and parents who are barely coping. And the babyish txt-language of the final chapter does not hold out much hope for any meaningful communicative future. And yet, when you get past all that, that elegiac tone and content, there is a real quest for narrative and aesthetic purity, whether in the “music” of Cezanne’s colours or the variety of silences in a musical fermata. Definitely worth a read.
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LibraryThing member starbox
The visiting 'goon' refers to Time; and in this series of interconnected short stories, time wreaks its havoc on the individuals involved. People age, fall ill and die; make life choices that will shape their existence; and are worked on by those around them. Some get lucky, some end up in the gutter. And even the pretty normal still look back on their youth with yearning - as Alex (now married with kids) suddenly recalls a girl he once dated and is seized with a mad yearning to meet her again and recapture those early days:
"Alex imagined walking into her apartment and finding himself still there - his young self, full of schemes and high standards, with nothing decided yet."
I thought the stories varied somewhat in quality, and didnt glean much from 'Great Rock and Roll Pauses' where the 12 year old narrator tries to represent her home life, and her autistic brother, in a series of graphs and Venn diagrams.
But overall a strong novel, as members of a loosely connected group of acquaintances in the music business go about their often dysfunctional lives.
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LibraryThing member Pennydart
The recent recipient of a Pulitzer Prize, “A Visit from the Goon Squad,” is more a collection of interlinked short stories than a true novel, where each chapter (save, of course, the first) revolves around a character who’s been introduced in an earlier one. There’s Sasha a thirty-something kleptomaniac; her boss Bennie, who we first meet as a divorced middle-aged record-producer still listening to the punk rock music of his youth; the younger Bennie, hanging out with a group of close friends whose band is named the Flaming Dildos; Lou, a music producer who becomes a lifelong mentor to Bernie after bedding his friend Jocelyn; Rolph and Charlene, Lou’s children, who accompany him on a safari to Africa where they witness a life-changing, terrifying event; Bennie’s wife Stephanie and her possibly psychopathic and definitely murdering brother Jules; and on and on.

Jennifer Egan’s stories jump around in time and in place and in theme—and also in style. She experiments with a range of styles, some traditional and some wildly experimental. Her experiments sometimes fail: for example, her second-person story of a suicide, told by the victim himself, seemed to me quite forced. Other times her post-modern experiments work brilliantly, most notably in her remarkably touching story-in-powerpoint—yes, powerpoint—narrated by a 12-year-old character, Allison Blake, about her life with an autistic brother. There are other high points in the book, inchapters that have a more traditional style, including the one that tells the tale of the safari mentioned above.

In some ways this book recalls those of Salmon Rushdie or Zadie Smith, with their parade of seemingly dozens of quirky characters. In others, it recalls the David Mitchell masterpiece “Cloud Atlas,” which was similarly built on loose links between its chapters. But where “Cloud Atlas” ultimately succeeds by building a coherent, compelling whole, “A Visit from the Goon Squad,” while fun to read—in in places enormously fun—in the end disappoints in its failure to hang together and present the long arc of coherent character development and change that make a novel great.
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LibraryThing member Micalhut
I have to admit I was a tad hesitant to read this even though the author is coming to our Literary Sojourn AND it won the Pulitzer. I kept hearing weird things like . . . powerpoint presentations and futuristic and disjointed. And punk rockers. Really?

To make myself read it, I suggested it to bookclub and it got voted in. And boy am I glad it did. LOVED, LOVED, LOVED! And the powerpoint chapter ended up being one of my favorite chapters to read. Poignant: and what he's really saying to Dad is "I love you." (sorry gotta read it).

And how did she come up with all these fantastic mini-stories, turn her characters (not really likable either) inside out for us to see their motivations without boring us, and turn it all into one? Genius, that's how.

Time is a goon! If we allow it to thieve us of who we are. Cheers, Jennifer Egan. You took my breath away.
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LibraryThing member honkcronk
I loved this book and I will suggest it to my book club. I will like reading it as I listened to the audio. I highly recommend the audio version. The reader was fantastic.




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