Long Island compromise

Review by Booklist Review

For several terrifying days in 1980, Carl Fletcher, head of his family factory, is kidnapped and tortured, until his wife, Ruth, drops $250,000 on a JFK baggage claim, per kidnappers' instruction, and Carl is returned. (An author's note explains that the crime is based on the high-profile 1974 kidnapping of Jack Teich, whose family intersected with the author's, but the similarities end there.) Everyone is traumatized, but at least the ransom was easily enough obtained: the Fletchers are fabulously wealthy thanks to Carl's late father, Zelig, who fled the Holocaust and worked his way up the American ladder producing Styrofoam, that ingenious (and alas, highly toxic) insulator. Brodesser-Akner's (Fleishman Is in Trouble, 2019) second novel unfolds through the present-day lives of Carl and Ruth's grown children: charismatic screenwriter Beamer, nervous attorney Nathan, and bristly labor organizer Jenny. Having been roundly pilloried by her kids, Ruth, too, gets a say, but Carl is barely there. This is more complicated than Fleishman, and messy to the point of unwieldy at times--sort of like the Fletchers themselves. But Brodesser-Akner is a steady, imaginative, insightful writer, and there are riotous passages, haunting dybbuks, and unseen twists that make it thoroughly discussable. Readers will get lost and found in its universe of wealth, family, faith, and other fallible securities.HIGH-DEMAND BACKSTORY: Following the runaway success of Fleishman Is in Trouble, in print and on TV, this, too, is already being adapted into a streaming series.

From Booklist, Copyright (c) American Library Association. Used with permission.

---

Review by Publisher's Weekly Review

Brodesser-Akner (Fleishman Is in Trouble) easily avoids the sophomore slump with another incisive and witty portrait of New York Jewish life. In 1980, wealthy polystyrene manufacturer Carl Fletcher was kidnapped from his Long Island home and held for a week until his wife, Ruth, paid the $250,000 ransom. Now, 40 years later, he's still traumatized, and is dutifully tended to by the controlling but loyal Ruth. Their three children also continue to live under the shadow of the kidnapping. There's Beamer, a moderately successful screenwriter with a secret drug and BDSM addiction; Nathan, a lawyer who's too timid for the partner track at his firm; and Jenny, a union organizer whose chief pleasure in life is pissing off her mother. Beamer is excited about an idea for a new project starring Mandy Patinkin when Jenny texts with troubling news: due to a series of financial reversals, the family fortune they've all depended on is gone. How the Fletchers respond to the crisis and finally put their shared past to rest forms the core of this entertaining saga. Brodesser-Akner's latest combines the smarts of Sarah Silverman's stand-up, the polymath verisimilitude of Tom Wolfe's novels, and the Jewish soul of Sholem Aleichem's stories. This is a comedic feast. Agent: Sloan Harris, CAA. (July)

(c) Copyright PWxyz, LLC. All rights reserved

---

Review by Library Journal Review

Listeners may never have met anyone like the Fletchers, but they'll recognize something in them that's both endearing and maddening. This is the art of Brodesser-Akner's (Fleishman Is in Trouble) family epic. Emphasis on the "epic"--the Fletchers are ultra-rich, ultra-anxious, and falling apart. The book starts with the kidnapping of Carl Fletcher, whose family money comes from a Styrofoam business. His wife, Ruth, doesn't bat an eye at withdrawing $250,000 for the ransom, and also doesn't hesitate to drag her toddler son along for the ride. What follows is the trickle-down effect of Carl's kidnapping (and the family fortune) on the adult Fletcher children years later: Nathan is so worried about his family's safety that he can't stop buying insurance, Beamer (once a Hollywood golden boy) needs the money to maintain his image, and Jenny despises the money so much that she gives it all away. Narrated deftly by Edoardo Ballerini, this is a compelling listen rife with anxiety. It is social satire at its darkest; the laughs are genuine, but there is also dread as the money starts to run out. The Fletchers make so many bad choices that the sense of their impending doom never quite dissipates, and Ballerini ably conveys the intense emotion and visceral stress that drive the plot. VERDICT A great listen that might compel audiences to take a break and gather a deep breath before diving back in.--Katy Hite

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

---

Review by Kirkus Book Review

After the paterfamilias is kidnapped, nobody in this family is ever the same. "Do you want to hear a story with a terrible ending?" Of course we do. So begins the glorious festival of schadenfreude that is this second book by Brodesser-Akner, who was apparently just getting started with her blockbuster debut, Fleishman Is in Trouble (2019)--she hits it out of the park with this much more ambitious follow-up. As the children of Carl Fletcher joke among themselves, discussing a TV show that's like a Jewish version of Succession, "What Jew our age wants the family business?" Well, it's a styrofoam factory, not a media conglomerate, for one thing, and for another, these three broken people have been stewed in the juice of a terrible event in their family history: In 1980, when Nathan and Beamer were small and Jenny was in utero, their father was kidnapped out of the driveway and held for several days. He was released upon payment of the third-largest domestic ransom to that time, $250,000. While two of the perps were convicted, the majority of the loot was not recovered, a fact that Carl is still thinking about at his twin grandsons' bar mitzvah decades later. "White people problems" are generally those that can be fixed by judicious spending, but no amount of money can fix what's wrong with the Fletchers; as the knowing narrator points out, "There is no post. There's only trauma." To which Carl's wife, Ruth (what a great character), might snort, "Dr. Phil over here." Indeed, for all the trauma, there are laugh-out-loud moments galore. And the title? It starts out coined by teenagers as something dirty, but as the book progresses, one comes to see that even the crime at the center of the book is a (very sad and twisted) version of the Long Island compromise. A great American Jewish novel whose brew of hilarity, heartbreak, and smarts recalls the best of Philip Roth. A triumph. Copyright (c) Kirkus Reviews, used with permission.

Copyright (c) Kirkus Reviews, used with permission.

---

A Dybbuk in the Works Do you want to hear a story with a terrible ending? On Wednesday, March 12, 1980, Carl Fletcher, one of the richest men in the Long Island suburb where we grew up, was kidnapped from his driveway on his way to work. It had been an unremarkable morning. Carl had awoken and showered and dressed and gone downstairs to kiss his wife, Ruth, goodbye, same as always. Ruth had already presented their two sons, Nathan and Bernard, with their bowls of Product 19 when Carl patted them on the head and left the kitchen and headed out the door into the bright sunlight. The weather was still generally straightforward back then, and spring peeked through the slush of a latest-winter storm that was taking its time to melt. The reflection blinded him a little; his vision was still pocked with dark spots when he inserted the keys into the door of the Cadillac Fleetwood Brougham he'd purchased the previous year. His brain hadn't yet registered the sound of someone else's footsteps through the slush before a man leapt from behind onto Carl's back and hooded him in one fast, balletic move, turning Carl's world instantly to black. Inside the hood were the amplified sounds of Carl's own suddenly fast breathing and grunting. Someone else--there were two men--pulled the keys from the lock and settled himself into the driver's seat while the first man struggled with Carl. Now, Carl was a tall man. The two men seemed significantly smaller. It was only the shock of the attack that allowed them to successfully wrest Carl into the footwell of his car. The Brougham drove away, down and out the C-shaped driveway, away from the giant waterfront Tudor on St. James Drive where the Fletchers lived. It drove through the township of Middle Rock, making a right onto Ocean Vista Road, passing the Fletchers' neighbors' own colossal homes, then over the bridge, then gliding right by, at the 1.8-mile mark, the sixteen-acre estate where Carl had grown up and where his mother was sitting at a Queen Anne desk right at that very moment, writing checks to the electric company and to the synagogue. Then, past the library, past the butcher, past Duplo's Ski and Skate Shop, where Carl's mother had bought him roller skates as a child and where he himself had just recently bought a first tennis racquet for his older son; past the turnoff to the synagogue where Carl had been bar mitzvahed; past the reception hall where he'd gotten married; past the two-block ghetto of auto repair shops, making a right turn onto Shore Turnpike and out of Middle Rock, which, until that moment, was most famous for being the setting of a famous novel from the 1920s (and its author's residence there) and, since, for being the first American suburb to arrive at a Jewish population of fifty percent. The kidnappers drove for about an hour until they stopped, pulled Carl out of the footwell, and dragged him up a few steps, into somewhere cavernous (the echo of the footsteps told Carl the place was cavernous), then dragged him down two flights of what felt like the same kind of serrated steel-tread stairs they had at the factory that Carl owned, Consolidated Packing Solutions, Ltd. From the steps he was pushed into a small space that he surmised was a closet. The dark became darkest. The Brougham was never found. Carl was not suspected to be missing until around three o'clock that afternoon. An hour before that, Ruth had looked at the clock and realized that it was time to pick up Nathan from school. She was in the early stages of her third pregnancy and her morning sickness hadn't abated by the afternoon and she was concerned it wasn't actually morning sickness but a virus that had sent her to the couch that morning and kept her there for most of the afternoon, letting Bernard, who was four, watch three reruns of Gilligan's Island in a row. She considered calling her friend Linda Messinger and asking her to pick Nathan up, but she'd already asked Linda to take him to school in the morning in the first place with her own six-year-old, Jared. Linda did not yet know that Ruth was pregnant, and so Ruth didn't want to ask her--a two-way favor would have sold Ruth and her condition out, and Ruth didn't want anyone to know this early, not even Linda Messinger, who she wasn't always so sure was rooting for her. She instead called her mother-in-law, Phyllis. Phyllis was a widow with a driver and lived just up the road, a spry fifty-five or fifty (she had destroyed all records of her birth when she turned thirty-six or thirty-one--nobody knew for sure). While Ruth waited for Nathan, she called the factory to ask Carl if he could pick up eggs and spaghetti on his way home. Carl's secretary, Hannah Zolinski, answered the phone and made noises of delay and then confusion and then finally told Ruth that Carl had never made it into the office that day. Hannah had assumed he was taking a day off. She'd been surprised, she told Ruth, since there was a purchase order that needed fulfilling for the Albertson's account, and Carl had expressed concern the day before that the drafting department was lagging on the order. This would put the factory behind schedule by days or weeks. Hannah hadn't called him at home because, she told Ruth, there was no need to; the drafting department had delivered and everything was running smoothly for Albertson. (Secretly, Hannah was worried that Carl had told her he was taking the day off and she hadn't remembered, which would make Carl angry. Hannah had recently become engaged to a man from the factory's engineering department and had already been berated by Carl for her distraction several times in the prior two weeks. Carl, Hannah knew, took pride in a distinct form of management: running "a tight ship," which mostly meant walking around with the baseline assumption that everyone was stealing from him constantly--sometimes in the form of money, but especially in the form of time. This was a lesson passed to him by his own father, who had founded and run the factory all the way up to his death, and this was why Carl rarely took time off, much less spontaneous time, and also why Hannah later told the police that she felt she would have remembered it if Carl had told her he was taking the day.) Ruth hung up the phone, her finger to her mouth. She stood for a long minute, the phone going dead, then silent, then the dial tone, then the obscene, too-loud clamor of a 1980s kitchen phone off the hook. Her mother-in-law walked in and looked from Ruth to the phone and then back to Ruth. "What is wrong with you?" Phyllis asked. Within twenty minutes, the local police arrived. Within an hour, Ruth's mother, Lipshe, entered. Within twenty-four hours, the FBI was setting up camp at Carl and Ruth's home: five full-time agents (two of whom were named John), one of them a woman (Leslie), around the clock, sleeping in the guest rooms and the kids' rooms and the living room. There were three members of the Middle Rock Police Department assigned to the house, but they were mostly useless. Owing to its wealth and relative distance from anything that resembled a working-class neighborhood, Middle Rock was a preternaturally safe place in the 1980s, and the police there had no experience dealing with something as strange and theoretically violent as a suddenly missing person. Ruth showed the agents recent pictures of Carl from their nephew's bar mitzvah and gave a description: six foot three, meaty but not fat, a prolific head of beautiful brown hair that defied logic--at thirty-three, a mere one on the Hamilton-Norwood baldness scale, same as when she met him--brown eyes that always looked like they were in a squint but were nonetheless kind, and a nose whose apex pointed downward so that he almost always looked like he was slightly repulsed by the thing he was looking at. Ruth's eyes stopped on a picture of the two of them dancing, her looking over her shoulder, perhaps her name being called by someone or just the photographer who took the picture. "This is us dancing," she said. The agents nodded thoughtfully and wrote in their notepads. And they asked questions: Was anyone angry at him? Did anyone have reason to threaten him? Did he ever talk about enemies, or even something more innocuous, like a random person who hated him? Was there--just hear us out--was there possibly another woman? "You keep mentioning this Hannah Zolinski," one of the Johns said, checking his notes. "She's his secretary," Ruth said, exasperated. She did not like feeling accused; she did not like that in addition to managing the stress of this absurd situation, she had to also clear her husband's reputation when it seemed very clear to nearly everyone that he was a victim of something. "If you knew how he gets frustrated with her," she tried. Then, quickly, as if this might vindicate him in his absence: "She's engaged! Hannah is recently engaged! To a Socialist!" Excerpted from Long Island Compromise: A Novel by Taffy Brodesser-Akner All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.

---