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Trust
Goodreads Choice Award
Nominee for Best Historical Fiction (2022)An unparalleled novel about money, power, intimacy, and perception
Even through the roar and effervescence of the 1920s, everyone in New York has heard of Benjamin and Helen Rask. He is a legendary Wall Street tycoon; she is the daughter of eccentric aristocrats. Together, they have risen to the very top of a world of seemingly endless wealth—all as a decade of excess and speculation draws to an end. But at what cost have they acquired their immense fortune? This is the mystery at the center of Bonds, a successful 1937 novel that all of New York seems to have read. Yet there are other versions of this tale of privilege and deceit.
Hernan Diaz’s TRUST elegantly puts these competing narratives into conversation with one another—and in tension with the perspective of one woman bent on disentangling fact from fiction. The result is a novel that spans over a century and becomes more exhilarating with each new revelation.
At once an immersive story and a brilliant literary puzzle, TRUST engages the reader in a quest for the truth while confronting the deceptions that often live at the heart of personal relationships, the reality-warping force of capital, and the ease with which power can manipulate facts.
Even through the roar and effervescence of the 1920s, everyone in New York has heard of Benjamin and Helen Rask. He is a legendary Wall Street tycoon; she is the daughter of eccentric aristocrats. Together, they have risen to the very top of a world of seemingly endless wealth—all as a decade of excess and speculation draws to an end. But at what cost have they acquired their immense fortune? This is the mystery at the center of Bonds, a successful 1937 novel that all of New York seems to have read. Yet there are other versions of this tale of privilege and deceit.
Hernan Diaz’s TRUST elegantly puts these competing narratives into conversation with one another—and in tension with the perspective of one woman bent on disentangling fact from fiction. The result is a novel that spans over a century and becomes more exhilarating with each new revelation.
At once an immersive story and a brilliant literary puzzle, TRUST engages the reader in a quest for the truth while confronting the deceptions that often live at the heart of personal relationships, the reality-warping force of capital, and the ease with which power can manipulate facts.
402 pages, Hardcover
First published May 3, 2022
About the author
Hernan Diaz
16 books1,943 followersHernan Diaz is the Pulitzer Prize-winning author of two novels translated into thirty-four languages. He is the recipient of the John Updike award from the American Academy of Arts & Letters, given to “a writer whose contributions to American literature have demonstrated consistent excellence.”
His first novel, In the Distance, was a finalist for the Pulitzer Prize and the PEN/Faulkner Award, and it was the winner of the Saroyan International Prize, the Cabell Award, the Prix Page America, and the New American Voices Award, among other distinctions. It was also a Publishers Weekly Top 10 Book of the Year and one of Lit Hub’s 20 Best Novels of the Decade.
Trust, his second novel, received the Pulitzer Prize for fiction and was a New York Times Bestseller, the winner of the Kirkus Prize, and longlisted for the Booker Prize, among other nominations. It was listed as a best book of the year by over thirty publications and named one of the 10 Best Books of the Year by The New York Times, The Washington Post, NPR, and Time magazine, and it was one of The New Yorker’s 12 Essential Reads of the Year. One of Barack Obama’s Favorite Books of 2022, Trust is currently being developed as a limited series for HBO.
His stories and essays have appeared in The Paris Review, Harper’s, The Atlantic, Granta, The Yale Review, Playboy, McSweeney’s, and elsewhere.
He has been awarded a Guggenheim Fellowship, a Whiting Award, and fellowships from the New York Public Library’s Cullman Center, and The Rockefeller Foundation.
He holds a PhD from NYU, edits an academic journal at Columbia University, and is also the author of Borges, between History and Eternity.
His first novel, In the Distance, was a finalist for the Pulitzer Prize and the PEN/Faulkner Award, and it was the winner of the Saroyan International Prize, the Cabell Award, the Prix Page America, and the New American Voices Award, among other distinctions. It was also a Publishers Weekly Top 10 Book of the Year and one of Lit Hub’s 20 Best Novels of the Decade.
Trust, his second novel, received the Pulitzer Prize for fiction and was a New York Times Bestseller, the winner of the Kirkus Prize, and longlisted for the Booker Prize, among other nominations. It was listed as a best book of the year by over thirty publications and named one of the 10 Best Books of the Year by The New York Times, The Washington Post, NPR, and Time magazine, and it was one of The New Yorker’s 12 Essential Reads of the Year. One of Barack Obama’s Favorite Books of 2022, Trust is currently being developed as a limited series for HBO.
His stories and essays have appeared in The Paris Review, Harper’s, The Atlantic, Granta, The Yale Review, Playboy, McSweeney’s, and elsewhere.
He has been awarded a Guggenheim Fellowship, a Whiting Award, and fellowships from the New York Public Library’s Cullman Center, and The Rockefeller Foundation.
He holds a PhD from NYU, edits an academic journal at Columbia University, and is also the author of Borges, between History and Eternity.
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Displaying 1 - 29 of 11,660 reviews
December 22, 2023
Every now and then, when I am lucky, I will come across a novel that will completely blast my readerly expectations from their mooring. These are the novels that disrupt business as usual, that slip from their reviewers’ grasp and revel in making it difficult to talk about them because they refuse to be metabolized into a digestible précis or be reducible to an easy categorization. I am drawn to all the ways these novels do this: refuse to satisfy conventional narrative expectations, defy our sense of what fiction and narrative can and should be, and in doing so reveal the potent and important work of language that cracks open locked doors and brings us face to face with the world that both unites and divides us—and with ourselves.
Hernan Diaz’s smart, moving and formally daring novel, Trust, is such a novel.
In the widest view, Trust offers a searing look at the gravitational pull of money and its ability to “bend and align reality itself”; in the smallest view, it disorients and disrupts formal genre distinctions to unsettle and resettle the long-standing myths that surround American financial power and excavate the unnamed and faceless histories that are buried beneath their constraining weight.
The structure of Trust might be a good place to begin a cursory investigation of what makes this novel so extraordinary. On its face, Trust tells the story of a wealthy financier and his rise to outrageous monetary heights during the Great Depression of 1929. What follows might have been, in any other novel, a straightforward narrative, like a hammer to a nail: the archetypical tale of the American Dream that highlights the individualism and determination of the “self-made” American man. Diaz, however, fractures that story instead, spilling it across multiple genres: a novel, a memoir draft, a memoir, and finally, a diary. By the time we think we know what the story is about, the frame has already shifted, and the story has become something else. And then something else again. And then something else again. With each turn of the frame, a new angle of glare is revealed. In other words, the frames are not decorative—they are borne out of necessity. They rise out of a deeper silence, and make possible sounds that could not otherwise be articulated. The frames speak against erasure.
I am mesmerized by the fierce intelligence with which Diaz addresses multiple facets of this erasure. How its echo, shadow, and silent force permeates the novel’s structure, tone, and theme. Early on, the novel establishes a “truth,” which is to say a story, only to then gradually begin to dismantle it, unwinding it in long threads of half-truths and half-lies across the page, all tangled but legible. In a slow surge, which later becomes a flood, we begin to have an acute sense that there is much more being said than what we are given access to, that there are words behind the words we are reading. Something crucial is being withheld; we are not entirely sure what. This might be frustrating for some readers, but the anticipation of discovery is far more compelling: we must go in to find out.
Therein lies, I think, the genuinely subversive quality of this novel (and half the joy of reading it): in its determined attention to the gaps, the silences, the evasions, and how it posits these gaps and silences and evasions—this edge of unfinished business—as a challenge to the reader to find out the truth, and most crucially, to avoid complicity in the erasures effected by the story.
Most narratives about money-making and the American dream of the self-sufficient white man are curiously silent about the origins of that money, and what set of conditions make it possible for the white man to remain self-sufficient. This inherent resistance to the topic is borne out of a perverse sense of self-preservation, saving these narratives from having to grapple with (or even acknowledge) any part of the question, either explicit or implied, of whose stolen labor is made serviceable, and what social relations are being concealed, for the realization of that story. It reassures the people and institutions complicit in this erasure, in other words, that they will never have to wake up to their record and face their responsibilities.
It is out of that void that Diaz’s novel leaps, cutting through the bright false stories around it, and asking it plain: whose voice is being heard just by virtue of being loud, and whose voice is stiffened into silence in the violent aftermath? Whose story is being foregrounded, and whose material presence is only dimly perceived or otherwise obscured from view altogether? Whose authoritative gaze is controlling these narratives—what do they reinforce, and what do they consistently fail to see? More important: how does our perception—our too-often easy uncritical acceptance—of what is truth and what is fiction shape our knowledge of ourselves and of the world at large?
These are the open questions that the novel asks us to sit inside and bear witness to. Trust is not necessarily invested in providing all the answers; by the end of the novel, we don’t so much land somewhere as just keep falling. What Trust offers us instead is a plurality of narratives that chart the complexity of our lives and seek to represent the true face of our history. It’s an invitation to reject—or at the very least be skeptical of—the authority of all-encompassing narratives, and to always look for the stories trapped underneath, or otherwise shoved to the ill-lit margins. Trust is an exercise, ultimately, in excavating truth, wherever it’s hidden. To do the opposite of what the title tempts us to do, which is to say—to never trust.
Hernan Diaz’s smart, moving and formally daring novel, Trust, is such a novel.
In the widest view, Trust offers a searing look at the gravitational pull of money and its ability to “bend and align reality itself”; in the smallest view, it disorients and disrupts formal genre distinctions to unsettle and resettle the long-standing myths that surround American financial power and excavate the unnamed and faceless histories that are buried beneath their constraining weight.
The structure of Trust might be a good place to begin a cursory investigation of what makes this novel so extraordinary. On its face, Trust tells the story of a wealthy financier and his rise to outrageous monetary heights during the Great Depression of 1929. What follows might have been, in any other novel, a straightforward narrative, like a hammer to a nail: the archetypical tale of the American Dream that highlights the individualism and determination of the “self-made” American man. Diaz, however, fractures that story instead, spilling it across multiple genres: a novel, a memoir draft, a memoir, and finally, a diary. By the time we think we know what the story is about, the frame has already shifted, and the story has become something else. And then something else again. And then something else again. With each turn of the frame, a new angle of glare is revealed. In other words, the frames are not decorative—they are borne out of necessity. They rise out of a deeper silence, and make possible sounds that could not otherwise be articulated. The frames speak against erasure.
I am mesmerized by the fierce intelligence with which Diaz addresses multiple facets of this erasure. How its echo, shadow, and silent force permeates the novel’s structure, tone, and theme. Early on, the novel establishes a “truth,” which is to say a story, only to then gradually begin to dismantle it, unwinding it in long threads of half-truths and half-lies across the page, all tangled but legible. In a slow surge, which later becomes a flood, we begin to have an acute sense that there is much more being said than what we are given access to, that there are words behind the words we are reading. Something crucial is being withheld; we are not entirely sure what. This might be frustrating for some readers, but the anticipation of discovery is far more compelling: we must go in to find out.
Therein lies, I think, the genuinely subversive quality of this novel (and half the joy of reading it): in its determined attention to the gaps, the silences, the evasions, and how it posits these gaps and silences and evasions—this edge of unfinished business—as a challenge to the reader to find out the truth, and most crucially, to avoid complicity in the erasures effected by the story.
Most narratives about money-making and the American dream of the self-sufficient white man are curiously silent about the origins of that money, and what set of conditions make it possible for the white man to remain self-sufficient. This inherent resistance to the topic is borne out of a perverse sense of self-preservation, saving these narratives from having to grapple with (or even acknowledge) any part of the question, either explicit or implied, of whose stolen labor is made serviceable, and what social relations are being concealed, for the realization of that story. It reassures the people and institutions complicit in this erasure, in other words, that they will never have to wake up to their record and face their responsibilities.
It is out of that void that Diaz’s novel leaps, cutting through the bright false stories around it, and asking it plain: whose voice is being heard just by virtue of being loud, and whose voice is stiffened into silence in the violent aftermath? Whose story is being foregrounded, and whose material presence is only dimly perceived or otherwise obscured from view altogether? Whose authoritative gaze is controlling these narratives—what do they reinforce, and what do they consistently fail to see? More important: how does our perception—our too-often easy uncritical acceptance—of what is truth and what is fiction shape our knowledge of ourselves and of the world at large?
These are the open questions that the novel asks us to sit inside and bear witness to. Trust is not necessarily invested in providing all the answers; by the end of the novel, we don’t so much land somewhere as just keep falling. What Trust offers us instead is a plurality of narratives that chart the complexity of our lives and seek to represent the true face of our history. It’s an invitation to reject—or at the very least be skeptical of—the authority of all-encompassing narratives, and to always look for the stories trapped underneath, or otherwise shoved to the ill-lit margins. Trust is an exercise, ultimately, in excavating truth, wherever it’s hidden. To do the opposite of what the title tempts us to do, which is to say—to never trust.
May 10, 2023
Trust holds a lot of promise, but it just didn't work for me. The novel consists of four parts - a novel-within-a-novel, sketches of an autobiography, a memoir, and a journal. Each successive entry peels back a layer of the story to ultimately reveal the truth behind the original novel. It sounds great as a premise, but the book as written doesn't quite match the compelling setup. The first problem is that the faux novel is just plain silly, with bursts of melodrama and written in a deliberately stylized manner, like a bad Edith Wharton pastiche. Andrew Bevel, the fictional character who is the subject of all this, is never sympathetic, even behind a façade, so we aren't surprised by later revelations. Showing that a wealthy financier isn't all he's cracked up to be is hardly revelatory. This would have been far more interesting if the first sections presented compelling characters and a myth that readers could get behind, only to strip it away later. Instead, we get a cartoonish setup, uninspiring characters, and an ending we all knew was coming.
October 13, 2021
Sublime, richly layered novel. A story within a story within a story. Elegantly written. Feels like an homage to Edith Wharton. Truly though, this is just sublime.
June 3, 2022
On the upside, I learned the word "dipsomania."
I went into the novel with huge stores of leftover goodwill from reading In the Distance. I also loved the idea of reading multiple rashomon-like reveals and revelations, and I read along in the beginning with great anticipation, and tried to retain my interest long enough to get to the next passage or sentence or anything at all that might remind me of how much I loved Díaz's debut...
But there were longer and longer interludes between the sparkly places.
In the end I was dragged down by the dull-sludge sections, and unable to make more excuses for this novel and its disappointments.
The novel's conceit relies on the first section, Bonds, being a novel that I can imagine people wanting to read in 1938. I couldn't imagine it. It feels fusty and restrained and underdone. It has no sustained emotional depth. It reads more like a long encyclopedia entry about the Rasks. I didn't believe it was interesting or important or revealing enough to be a novel that the 'real' Benjamin Rask, Andrew Bevel, would bother to care about.
But the section that disappointed me most was the last section, where we get scraps of Mildred Bevel's diary. I'd held onto the hope that in this last part the novel would finally break out of the intellectual straightjacket Díaz had forced his writing to conform to. I fully expected the novel would finally lift itself out of the mundane slog, and into something revelatory, and beautiful--but instead it just flopped around, like a fish drowning in air, and died.
I went into the novel with huge stores of leftover goodwill from reading In the Distance. I also loved the idea of reading multiple rashomon-like reveals and revelations, and I read along in the beginning with great anticipation, and tried to retain my interest long enough to get to the next passage or sentence or anything at all that might remind me of how much I loved Díaz's debut...
But there were longer and longer interludes between the sparkly places.
In the end I was dragged down by the dull-sludge sections, and unable to make more excuses for this novel and its disappointments.
The novel's conceit relies on the first section, Bonds, being a novel that I can imagine people wanting to read in 1938. I couldn't imagine it. It feels fusty and restrained and underdone. It has no sustained emotional depth. It reads more like a long encyclopedia entry about the Rasks. I didn't believe it was interesting or important or revealing enough to be a novel that the 'real' Benjamin Rask, Andrew Bevel, would bother to care about.
But the section that disappointed me most was the last section, where we get scraps of Mildred Bevel's diary. I'd held onto the hope that in this last part the novel would finally break out of the intellectual straightjacket Díaz had forced his writing to conform to. I fully expected the novel would finally lift itself out of the mundane slog, and into something revelatory, and beautiful--but instead it just flopped around, like a fish drowning in air, and died.
May 9, 2023
Winner of the 2023 Pulitzer Prize
Longlisted for the 2022 Booker Prize
4.5⭐
"Most of us prefer to believe we are the active subjects of our victories but only the passive objects of our defeats. We triumph, but it is not really we who fail—we are ruined by forces beyond our control."
I’ll admit that I had put this book aside when I first received it a month ago. The subject matter- financial markets, Wall Street tycoon, the crash of 1929- wasn’t pulling me in. But eventually, my curiosity got the better of me and I finally cracked it open three days ago and I have been immersed in it ever since. This is a book that takes time and patience. I did put it down a few times – not because I lost interest but because I needed to take a pause and absorb what I was reading. In general, I enjoy meta fiction when it is done right and Hernan Diaz takes meta fiction to a different level altogether with “Trust”.
It is hard to summarise this book without giving too much away. The plot revolves around a successful financier (and his wife) who not only survived the crash of 1929 but thrived and added to their wealth through well-timed investment decisions. He attributes his success to his strong intuitive capabilities, intense research and his acute understanding of the financial world. Needless to say, reaping profits in an era wherein the economy collapsed and investors and businesses lost substantial amounts of money, does invite questions and conjecture directed toward his investment practices, even inspiring fiction based on the life and times of said person with distorted facts and whole a lot of speculation. Now how does one protect his image and manage public perception? Who is he trying to convince? – Those in his close circle? Business associates? Family members? Himself?
“Trust” is a complex, layered novel divided into four parts- four distinct narrative styles in four distinct voices. This novel is composed of four intricately woven novels/segments - each presenting a different perspective on the events center to the plot - a work of fiction inspired by the main character and his wife, an incomplete draft of an autobiography written by the egotistical protagonist, a memoir written by the young woman hired by the main character as his biographer and the final segment is a part of the diary of the financier’s late wife. As the narrative progresses, and the line between fact and fiction gets blurred, which version of the events and the people involved rings true? Whose version can you trust?
With its unique structure, elegant writing, interesting characters (even the immensely unlikable protagonist) and the 1920s setting, Hernan Diaz’s Trust is a sharp, compelling and creative work of fiction. The first part of the novel does not quite give the reader an idea of the complexity and the intrigue of the plot that lies ahead. The final two parts of the novel were my favorite and the most absorbing part(s) of the book. I will definitely be looking out for more from this author.
“Every life is organized around a small number of events that either propel us or bring us to a grinding halt. We spend the years between these episodes benefiting or suffering from their consequences until the arrival of the next forceful moment.”
May 9, 2023
Joint Winner of the Pulitzer Prize 2023 with the equally simplistic Demon Copperhead
Longlisted for the Booker Prize 2022
Listen, God knows I was all here for a four-part experimental novel about American finance and wealth, the cover showing 30 Rock under a snow globe/glass dome of a stock ticker with fog promised intelligent fun about money as a global narrative that materializes all around us. Unfortunately, the complex topic of American wealth, its roots and repercussions, was then dealt with on a rather superficial level, and, even worse, the whole construct rests on a novel-within-a-novel that reads as if Edith Wharton now writes Wikipedia entries.
Let's quickly sum this book up: The first part is a presented as a bestseller from the 1930's, telling the story of eccentric Wall Street tycoon Benjamin Rask who, between the turn of the century and 1930, has amassed insane wealth. He marries a brilliant woman named Helen, who starts to suffer from mental illness, which then leads to sinister The Magic Mountain references as well as musings about the history of psychology and neurology. This part emulates the style of Henry James and Edith Wharton, but the pastiche is (intentionally?) so clumsily done that I would have bailed right there if I didn't know there were completely different parts to come.
The second part is the manuscript of the autobiography of Andrew Bevel, who turns out to be the real-life Benjamin Rask. It'a also unpleasant to read, as it mainly serves to establish the differences between the fictionalized Bevel in part one and the differently fictionalized Bevel as he wanted to be perceived by the world. Here, we get lots of references to the insufferable Ayn Rand and her ramblings about ethical egotism à la "my wealth proves how much I have done for the nation". With John Oliver, I ask: How is this still a thing? Bevel frames his wife in the constraints of her time and, surprise, is also a blatant misogynist.
Then, in part three, women finally get a voice, as it is told by Ida Partenza, the ghostwriter of the manuscript in part two (are you still following, class? :-)). Here, we learn how she was tasked to craft the autobiography of Bevel, and what Bevel wanted to achieve with it. Also, the Rand-like character of Bevel is contrasted with Ida's dad, an Italian anarchist, and her lover, a dedicated opportunist masquerading as a leftist-type of guy. Stuff is said about Karl Marx, and as as someone who studied PoliSci in Karl's hometown, my arm now hurts because of all the facepalming I had to do due to the simplistic ideas about Marxism uttered in this text.
In the last part, Bevel's wife, Mildred (who became Helen as a fictionalized version in part one) gets a say, and we finally learn who she, the person at the heart of the novel, really was - from her point of view, not according to male-dominated fictions. The much discussed plot twist is not really a twist though, because you see it coming from a mile away.
Maybe two stars really is too harsh a verdict, because there were passages I enjoyed reading (especially in part three), but the overall narrative idea is way more appealing than the execution. I was missing deeper insights on the belief systems tackled here - unrestrained capitalism, Marxism, Italian anarchism - or the sociopolitical context, or at least the finance system as such. The characters themselves are rendered as ciphers, which is not a problem per se, but then they really have to stand for something complex.
At the end of the day, money is a social construct and a medium: We ascribe value to it in a complex system of social agreements - which is the connection between money and language. This is also the connex between the myth of the American dream and the cult of wealth. But the novel does not really explore these topics, it remains superficial and safe by criticizing Wall Street in an undercomplex manner and turning far-left ideologies into quirky sideshows, and then adds some feminist critique about the role of women when it comes to writing the lives of so-called "great men" (a topic widely researched by the first scientist to focus on what we now call toxic masculinity, Klaus Theweleit). What a missed opportunity.
Longlisted for the Booker Prize 2022
Listen, God knows I was all here for a four-part experimental novel about American finance and wealth, the cover showing 30 Rock under a snow globe/glass dome of a stock ticker with fog promised intelligent fun about money as a global narrative that materializes all around us. Unfortunately, the complex topic of American wealth, its roots and repercussions, was then dealt with on a rather superficial level, and, even worse, the whole construct rests on a novel-within-a-novel that reads as if Edith Wharton now writes Wikipedia entries.
Let's quickly sum this book up: The first part is a presented as a bestseller from the 1930's, telling the story of eccentric Wall Street tycoon Benjamin Rask who, between the turn of the century and 1930, has amassed insane wealth. He marries a brilliant woman named Helen, who starts to suffer from mental illness, which then leads to sinister The Magic Mountain references as well as musings about the history of psychology and neurology. This part emulates the style of Henry James and Edith Wharton, but the pastiche is (intentionally?) so clumsily done that I would have bailed right there if I didn't know there were completely different parts to come.
The second part is the manuscript of the autobiography of Andrew Bevel, who turns out to be the real-life Benjamin Rask. It'a also unpleasant to read, as it mainly serves to establish the differences between the fictionalized Bevel in part one and the differently fictionalized Bevel as he wanted to be perceived by the world. Here, we get lots of references to the insufferable Ayn Rand and her ramblings about ethical egotism à la "my wealth proves how much I have done for the nation". With John Oliver, I ask: How is this still a thing? Bevel frames his wife in the constraints of her time and, surprise, is also a blatant misogynist.
Then, in part three, women finally get a voice, as it is told by Ida Partenza, the ghostwriter of the manuscript in part two (are you still following, class? :-)). Here, we learn how she was tasked to craft the autobiography of Bevel, and what Bevel wanted to achieve with it. Also, the Rand-like character of Bevel is contrasted with Ida's dad, an Italian anarchist, and her lover, a dedicated opportunist masquerading as a leftist-type of guy. Stuff is said about Karl Marx, and as as someone who studied PoliSci in Karl's hometown, my arm now hurts because of all the facepalming I had to do due to the simplistic ideas about Marxism uttered in this text.
In the last part, Bevel's wife, Mildred (who became Helen as a fictionalized version in part one) gets a say, and we finally learn who she, the person at the heart of the novel, really was - from her point of view, not according to male-dominated fictions. The much discussed plot twist is not really a twist though, because you see it coming from a mile away.
Maybe two stars really is too harsh a verdict, because there were passages I enjoyed reading (especially in part three), but the overall narrative idea is way more appealing than the execution. I was missing deeper insights on the belief systems tackled here - unrestrained capitalism, Marxism, Italian anarchism - or the sociopolitical context, or at least the finance system as such. The characters themselves are rendered as ciphers, which is not a problem per se, but then they really have to stand for something complex.
At the end of the day, money is a social construct and a medium: We ascribe value to it in a complex system of social agreements - which is the connection between money and language. This is also the connex between the myth of the American dream and the cult of wealth. But the novel does not really explore these topics, it remains superficial and safe by criticizing Wall Street in an undercomplex manner and turning far-left ideologies into quirky sideshows, and then adds some feminist critique about the role of women when it comes to writing the lives of so-called "great men" (a topic widely researched by the first scientist to focus on what we now call toxic masculinity, Klaus Theweleit). What a missed opportunity.
March 11, 2022
This brilliant metafiction book is about a lot of things, but among the most prominent is the bending and aligning of reality according to one’s mistakes so it ceases to be a mistake. What are the fictions that compose our identity? Or do our lives eventually become the written and verbal fictions that others craft?
Since I am an early reader, I had the joy of discovering the alchemy created by Hernan Diaz without any advance knowledge or perceptions. In this review, I’m going to try hard to ensure that others are equally spellbound by some of the more intriguing shifts.
At the start, the author pays evident homage to Edith Wharton in his presentation of the legendary financier Benjamin Rask. In unadorned but elegant prose, we learn the story of Rask’s ascension to the economic stratosphere (of course, it didn’t hurt that he was born into family money) and the influence of his wife, Helen, who hails from a family of old money that is now in a precarious state. So convincing is that portrayal that I actually Googled this couple, and when the results proved lacking, I refreshed and googled again.
For nearly 100 pages, we are immersed in their compelling story but I have to admit I thought, “Okay, good writing that’s rather evocative. But what’s the big deal?”
The “big deal” is revealed through the next three sections – revealed in a novel-within-a-novel, an unfinished manuscript, a memoir, and finally a diary – as other narrators take the stage. As layer upon layer is added, we view the first 100 pages with whole new eyes. Who the narrators are – and what is revealed – is for the reader to discover.
Certain themes and motifs begin to repeat. One surrounds the allure of money: is it merely a fiction – a dirty stack of bills that we use as a measure to value all other commodities? Does that then make finance capital a fiction of a fiction? Or is it the god of commodities and the foundation of making all things possible?
For those (to coin Thomas Wolfe) “masters of the universe”, how do we separate the ever-present myths from the realities? Where do the women who stand with them fit in? Why force women into stereotypes , putting them in their place for the purpose of providing a better story of themselves for history? And finally, are we all complicit in the stories we create if the price is high enough?
The more I consider this novel, the more blown away I am with it. It is an exhilarating read that goes to the very core of distinguishing fact from fiction. I owe a debt of gratitude to Riverhead Books, an imprint of Penguin Random House, for providing me with the privilege of being an advance reader in exchange for an honest review. I’ve no doubt this book will make my Top Ten this year.
Since I am an early reader, I had the joy of discovering the alchemy created by Hernan Diaz without any advance knowledge or perceptions. In this review, I’m going to try hard to ensure that others are equally spellbound by some of the more intriguing shifts.
At the start, the author pays evident homage to Edith Wharton in his presentation of the legendary financier Benjamin Rask. In unadorned but elegant prose, we learn the story of Rask’s ascension to the economic stratosphere (of course, it didn’t hurt that he was born into family money) and the influence of his wife, Helen, who hails from a family of old money that is now in a precarious state. So convincing is that portrayal that I actually Googled this couple, and when the results proved lacking, I refreshed and googled again.
For nearly 100 pages, we are immersed in their compelling story but I have to admit I thought, “Okay, good writing that’s rather evocative. But what’s the big deal?”
The “big deal” is revealed through the next three sections – revealed in a novel-within-a-novel, an unfinished manuscript, a memoir, and finally a diary – as other narrators take the stage. As layer upon layer is added, we view the first 100 pages with whole new eyes. Who the narrators are – and what is revealed – is for the reader to discover.
Certain themes and motifs begin to repeat. One surrounds the allure of money: is it merely a fiction – a dirty stack of bills that we use as a measure to value all other commodities? Does that then make finance capital a fiction of a fiction? Or is it the god of commodities and the foundation of making all things possible?
For those (to coin Thomas Wolfe) “masters of the universe”, how do we separate the ever-present myths from the realities? Where do the women who stand with them fit in? Why force women into stereotypes , putting them in their place for the purpose of providing a better story of themselves for history? And finally, are we all complicit in the stories we create if the price is high enough?
The more I consider this novel, the more blown away I am with it. It is an exhilarating read that goes to the very core of distinguishing fact from fiction. I owe a debt of gratitude to Riverhead Books, an imprint of Penguin Random House, for providing me with the privilege of being an advance reader in exchange for an honest review. I’ve no doubt this book will make my Top Ten this year.
May 7, 2022
Did I miss something? Why all the praise for this book? I think it's hiding behind the unusual structure that it's actually rather boring and cliche. There is nothing new to be found here about gender or wealth. We need a book like this in 2022? It's just the author sort of patting himself on the back for reaching the most basic level of conclusions about these topics. "People with money get to control the narrative!" "Women are treated like props for men!" "Behind every great man is a woman!"
...So? Trite, flat characters...a whole section that is entirely skippable. Just skip the whole book.
...So? Trite, flat characters...a whole section that is entirely skippable. Just skip the whole book.
May 8, 2023
Joint winner of the Pulitzer Prize
Which doesn’t suggest American fiction is in a very healthy state.
Trust by Hernan Diaz has an interesting, and in some respects brave, structure, albeit one that many readers have commented seems to have been borrowed from Susan Choi's Trust Exercise, which is perhaps a clever metafictional approach given metafictional clumsiness is at the heart of the novel, as is the theme of men taking credit for women's achievements.
The second best way to read this book might to be to do without foreknowledge of this structure, but the high level of publicity and authorial interviews makes that difficult, and so I will cover it in my review. Although the best way might be not to read it at all - of a book published at the same time, The Unauthorised Biography of Ezra Maas does something similar but is much more accomplished.
The novel is split into four parts, three of them novellas and the last a brief coda:
Bonds by Harold Vanner
My Life by Andrew Bevel
A Memoir Remembered by Ida Partenza
Futures by Mildred Bevel
Bonds is the loosely fictionalised biography (fictional even within the novel's world) of a 1920-30s Wall Street tycoon Benjamin Rask and his wife Helen, published (in the novel's world) in the early 1930s. It is written in the style of an Edith Wharton, although Vanner (and perhaps also Diaz?) is a poor imitator of her prose, and the novella is (deliberately?) badly written.
Rask is based on the real-life (in the novel's world - I will stop adding that for fear of this review becoming as tedious as Vanner's prose) Andrew Bevel, whose late wife was called Mildred. And who I kept wanting to call Mildred Revel as my Proustian recollection of those delicious chocolates - except the coffee one - was the only good thing from the book.
And My Life is Bevel's own autobiographical account, designed to counter Vanner's scurrilous portrayal, both of Andrew Bevel's part in the late 1920s Wall Street crash but also Vanner's version of Mildred, who Vanner has dying after severe mental health problems, but who Vanner portrays as a simple, but kindly soul. Or rather My Life is a partly completed account, with lots of 'add some anecdotes here' type comments left in the manuscript for example:
His unique, discreetly creative approach. Free Banking Era. Opportunities in currency fluctuation, etc. 2–3 examples.
Again this isn't a great read as the tone is deliberately rather pompous and (disappointingly) in both sections, the details of the operation of the stock market during the fascinating memoir are as sketchy as parts of Bevel's incomplete work. Hence my 'brave' comment earlier - for the reader, a pastiche of a badly written book is still a badly written book. Although both Bonds and My Life are quick reads, ideally skimmed, as there is seldom a word which isn't wasted.
The third part is the novel's “highlight” although that is damning with faint praise. Ida Partenza proves to be Bevel's typist (as he would have seen her) or ghost-writer (in reality), responsible for My Life. In A Memoir Remembered she is recounting, decades later, how she became involved with Bevel and with his autobiography. Parts of this story were compelling, although a side story involving her jealous boyfriend, a journalist, seemed more designed to set up part four of the book, rather than add anything, and that of her Italian anarchist father felt like it belonged to another book.
The reminisces on the past in A Memoir Remembered are interspersed with Partenza's account of contemporary visit to the Bevel's former home, now turned into a museum. There she finds a diary written by Mildred Bevel.
And the novel's brief final section is that diary, written from the Swiss sanitorium where Mildred (and Helen, albeit from a different cause) ended her days. And this section contains a revelation that had been heavy-handedly signposted throughout - again this seems to be deliberately.
Ultimately, very disappointing, at times deliberately so. 1 star - rounded down for its apperance on an otherwise strong Booker list.
Thanks to the publisher via Netgalley for the ARC.
Which doesn’t suggest American fiction is in a very healthy state.
Trust by Hernan Diaz has an interesting, and in some respects brave, structure, albeit one that many readers have commented seems to have been borrowed from Susan Choi's Trust Exercise, which is perhaps a clever metafictional approach given metafictional clumsiness is at the heart of the novel, as is the theme of men taking credit for women's achievements.
The second best way to read this book might to be to do without foreknowledge of this structure, but the high level of publicity and authorial interviews makes that difficult, and so I will cover it in my review. Although the best way might be not to read it at all - of a book published at the same time, The Unauthorised Biography of Ezra Maas does something similar but is much more accomplished.
The novel is split into four parts, three of them novellas and the last a brief coda:
Bonds by Harold Vanner
My Life by Andrew Bevel
A Memoir Remembered by Ida Partenza
Futures by Mildred Bevel
Bonds is the loosely fictionalised biography (fictional even within the novel's world) of a 1920-30s Wall Street tycoon Benjamin Rask and his wife Helen, published (in the novel's world) in the early 1930s. It is written in the style of an Edith Wharton, although Vanner (and perhaps also Diaz?) is a poor imitator of her prose, and the novella is (deliberately?) badly written.
Rask is based on the real-life (in the novel's world - I will stop adding that for fear of this review becoming as tedious as Vanner's prose) Andrew Bevel, whose late wife was called Mildred. And who I kept wanting to call Mildred Revel as my Proustian recollection of those delicious chocolates - except the coffee one - was the only good thing from the book.
And My Life is Bevel's own autobiographical account, designed to counter Vanner's scurrilous portrayal, both of Andrew Bevel's part in the late 1920s Wall Street crash but also Vanner's version of Mildred, who Vanner has dying after severe mental health problems, but who Vanner portrays as a simple, but kindly soul. Or rather My Life is a partly completed account, with lots of 'add some anecdotes here' type comments left in the manuscript for example:
His unique, discreetly creative approach. Free Banking Era. Opportunities in currency fluctuation, etc. 2–3 examples.
Again this isn't a great read as the tone is deliberately rather pompous and (disappointingly) in both sections, the details of the operation of the stock market during the fascinating memoir are as sketchy as parts of Bevel's incomplete work. Hence my 'brave' comment earlier - for the reader, a pastiche of a badly written book is still a badly written book. Although both Bonds and My Life are quick reads, ideally skimmed, as there is seldom a word which isn't wasted.
The third part is the novel's “highlight” although that is damning with faint praise. Ida Partenza proves to be Bevel's typist (as he would have seen her) or ghost-writer (in reality), responsible for My Life. In A Memoir Remembered she is recounting, decades later, how she became involved with Bevel and with his autobiography. Parts of this story were compelling, although a side story involving her jealous boyfriend, a journalist, seemed more designed to set up part four of the book, rather than add anything, and that of her Italian anarchist father felt like it belonged to another book.
The reminisces on the past in A Memoir Remembered are interspersed with Partenza's account of contemporary visit to the Bevel's former home, now turned into a museum. There she finds a diary written by Mildred Bevel.
And the novel's brief final section is that diary, written from the Swiss sanitorium where Mildred (and Helen, albeit from a different cause) ended her days. And this section contains a revelation that had been heavy-handedly signposted throughout - again this seems to be deliberately.
Ultimately, very disappointing, at times deliberately so. 1 star - rounded down for its apperance on an otherwise strong Booker list.
Thanks to the publisher via Netgalley for the ARC.
May 17, 2022
Hernan Diaz’s new book, “Trust,” is about an early-20th-century investor. Or at least it seems to be. Everything about this cunning story makes a mockery of its title. The only certainty here is Diaz’s brilliance and the value of his rewarding book.
Though framed as a novel, “Trust” is actually an intricately constructed quartet of stories — what Wall Street traders would call a 4-for-1 stock split.
The first part is a novella titled “Bonds,” presented as the work by a now forgotten writer in the 1930s named Harold Vanner. A pastiche of F. Scott Fitzgerald’s and Edith Wharton’s fiction, the story luxuriates in the tragic fate of America’s wealthiest man, Benjamin Rask. The opening line immediately signals the narrator’s mingled awe and reproof: “Because he had enjoyed almost every advantage since birth, one of the few privileges denied to Benjamin Rask was that of a heroic rise.”
Diaz, writing as Vanner, spins the legend of an icy, isolated young man who quickly masters the levers of finance to transform his “respectable inheritance” into an unimaginably large estate. “His colleagues thought him. . . .
To read the rest of this review, go to The Washington Post:
https://www.washingtonpost.com/books/...
Though framed as a novel, “Trust” is actually an intricately constructed quartet of stories — what Wall Street traders would call a 4-for-1 stock split.
The first part is a novella titled “Bonds,” presented as the work by a now forgotten writer in the 1930s named Harold Vanner. A pastiche of F. Scott Fitzgerald’s and Edith Wharton’s fiction, the story luxuriates in the tragic fate of America’s wealthiest man, Benjamin Rask. The opening line immediately signals the narrator’s mingled awe and reproof: “Because he had enjoyed almost every advantage since birth, one of the few privileges denied to Benjamin Rask was that of a heroic rise.”
Diaz, writing as Vanner, spins the legend of an icy, isolated young man who quickly masters the levers of finance to transform his “respectable inheritance” into an unimaginably large estate. “His colleagues thought him. . . .
To read the rest of this review, go to The Washington Post:
https://www.washingtonpost.com/books/...
January 13, 2024
”One’s reality is another’s delusion.”
In the complexities of human perception, one's reality often serves as the elusive counterpart to another's delusion. We all grapple with the fine balance between subjectivity and the quest for objective truth, assuming one believes in its existence.
”Trust” is an interesting experimental novel that endeavors to navigate the labyrinthine corridors of perception, trying to echo the works of literary greats in the process. Diaz boldly embarks on an ambitious quest to weave a postmodern tapestry within the traditional fabric of the American novel, and sometimes disappointingly falls flat in the process.
Rooted in the opulence and fervor of 1920s New York, his narrative is evidently inspired by Wharton and Fitzgerald, immersing itself in the quintessential American dream—an ethos of egoistical capitalism and individualism espoused by the enigmatic and highly controversial Ayn Rand. Rand is often hated for openly verbalizing the core beliefs that drive the modern world.
Within this milieu, status and purpose are found in the Gatsbyan pursuit of wealth, a narrative where money, in its irrational accumulation, makes the very fabric of reality.
If you are enough entrenched in self-serving maxims, you too can live the American dream and be the ideal of a “self-made” man.
The central figures of the novel, Andrew and Helen Bevel, a New York financier and his wife, stand as the embodiment of this ethos possessing wealth surpassing the GDP of entire nations. Money, in Diaz's narrative, transcends its material constraints, evolving into a numinous force that purchases not only worldly goods but the respect and heroic stature coveted by society. It purchases a new version of reality, a promise of a new version of self.
In a philosophical reverie, Diaz contemplates the metaphysical underpinnings of money and its entanglement with the power structures of finance, connecting its ontology to considerations about inequality and other real-life issues. Money often deemed the most intimate and private of subjects, becomes the focal point of introspection.
“Money. What is money?” he would mutter to himself. “Commodities in a purely fantastic form.”
What is the thing that makes money rule all and what makes it create such mythical creatures as Musk, Bezos, Gates, or anyone who accumulates wealth above all measure?
The possession of substantial wealth transcends mere affluence; it constitutes a multidimensional state that extends beyond material opulence. In the modern world, rich people become saints of capitalism on whose altar many will bow their knees in restless pursuit of the obsession of more. An insatiable hunger lurks beneath the veneer of ambition. We crave more—more recognition, more possessions, more moments of fleeting ecstasy. It's the ceaseless pursuit of the 'I,' the insistent tug of a selfhood hungry for validation in a marketplace teeming with competing egos.
The novel's thematic core delves into the symbiotic relationship between money and fiction, unveiling the role of wealth and power in ”bending and aligning reality itself” to one’s will. In the labyrinth of egoistic capitalism, the appetite for more is not merely a preference; it's a manifesto, a declaration of existence in a world that measures worth in quantifiable increments. We navigate this societal bazaar with a shopping cart of desires, each acquisition a testament to our standing in the grand bazaar of self-importance.
Yet, in this relentless pursuit, we may find ourselves ensnared in the paradox of plenty—amidst abundance, a gnawing emptiness persists. The 'more' we accumulate becomes a fleeting mirage, dissipating just as we approach its shimmering allure.
”Trust” delves into the trap of the human spirit that money represents—a modern-day holy grail, a philosopher's stone, that fails to deliver to promise of ecstasy and transfiguration. The narrative prods readers to ponder the transformative power of immense fortune and its potential to shape any future one wants, or thinks they want. The illusion of wealth becomes shattered in rich man's dystopian future as a poignant reflection on the isolation it begets—a lonely existence where the blanket of one's public image serves as the sole comfort, rendering the individual a mere projection of society's idea of success and freedom, without the person's grasp of the true essence of those values.
”So if money is fiction, finance capital is the fiction of a fiction. That's what all those criminals trade in: fictions... Money is at the core of it all. An illusion we've all agreed to support. Unanimously.”
The tragic narrative arc of Andrew Bevel, reminiscent of Gatsby's ill-fated pursuit, unfolds as a pursuit of his own ghostly image. Wealth begets the power to construct false narratives that offer a semblance of freedom from the judgments of others. Yet, like Gatsby, the wealth fails to liberate him from the shackles of self-deception and a reluctance to confront the fundamental truths of his existence. Yes, as Bevel and Gatsby, one can have all the worldly power and wealth, and still be overwhelmed and riddled with shame, desperately clinging to other people's perception of themselves to the point of addiction. The more accolades amassed, the more self-hate seems to gather in the shadowy recesses of the psyche, a paradoxical companion to the glitz and glamour.
They, adorned in the regalia of influence, find themselves desperately clutching to the perceptions of others as if they were a lifeline. It's an addiction, an insidious yearning for external validation to stave off the encroaching tide of self-doubt. The more eyes applaud, the more hollow the applause seems to ring. In the pursuit of worldly triumphs, the corridors of power become a labyrinth of self-deception.
As the narrative unfolds in a Rashomonian structure, Diaz probes the essential question: Whose narrative should we Trust?
In the metafictional legacy of Borges and Calvino, the novel fragments into four different parts with distinct narratives and voices that are in communication with each other. Each part interrogates the reliability of the other, creating a literary kaleidoscope that challenges the reader's perception. The narrators of almost all parts either are or could be considered unreliable with unpure motives.
There is also a shift in literary style, the first part being a self-proclaimed hommage to Warthon, Henry James and Fitzgerald, but in reality, landing more closely to the style of Taylor Jenkins Raid than the literary titans.
The second part is meant to be informative and dry, written by Ida, Bevel's ghostwriter, a fabricated reality of what our protagonist wanted to be the truth about him and his wife’s life, inspired by the autobiographical style of great men of American history that Bevel wholeheartedly wants to be remembered as.
In the third part, a memoir by Ida, Bevel’s ghostwriter, more truth is presumingly revealed, and in Ida’s memoir, the writing style becomes more modern, philosophical and reflective. Marx is mentioned as Diaz’s influence and this section gives a commentary on capitalism and its leftist critique in the voice of Ida's anarchist father.
Here the other fundamental idea of a novel is revealed - the greatness of women hidden in history written by men. The bending of a woman’s character to fit into the myth the man in her life needed for himself. Complicated search for the truth of women’s lives and their own voices in men male-dominated world. But Ida has many motives for being unreliable, emotionally involved, and appalled by male narratives that dominate the world. Her writing is inspired by detective fiction she adored in youth, by Agatha Christie and Dorothy Sayers: “These women showed me I did not have to conform to the stereotypical notions of the feminine world.… They showed me that there was no reward in being reliable or obedient: The reader’s expectations and demands were there to be intentionally confounded and subverted.”
The grand finale of the book is a disjointed narrative of dying Mildred Bevel's morphine-addled diary, which serves as the crescendo of revelation—her nonlinear perspective where past, present, and future coalesce in a feverish dreamscape.
Influenced by feminist literary giants such as Woolf, Rhys and Lessing, this section unveils the untold stories of women relegated to the shadows of history—a secret creative force behind the lives of men.
“Short selling is folding back time. The past making itself present in the future.”
In the tradition of Charlotte Perkins Gilman’s “The Yellow Wallpaper this section plays in the idea of women locked behind doors which is the generative power of men’s lives. The genius women whose voices were marginalized, silenced, made appear mad like a woman in the attic through history - voices of women we may only hear distorted - through the stories of their successful husbands or in no way at all. The genius of women who rule from the shadows, often unclaimed and unrecognized by the collective, still contains the intellectual fuel for men. Helen’s voice brings the unnamed and untold stories buried beneath American financial power.
Here achievement and money are not essential - being is.
In the metanarrative of the novel, the same question is posed again and again, whose narrative do we Trust?
From what I gathered, all the readers seem to consider the last part of the novel it great reveal - a reveal of the truth so concealed in previous voices. But I can’t help but wonder why.
Because the last two sections are written by women? Because they are written in a more appealing, literary, postmodern style? Because the last part was written by a dying woman? We often forget that women also have their own mythologies of their identities - sometimes containing inflation of their own. They can also be threatened by the power of men and create their own grandiose narrative of themselves. Marriages are complex and our perceptions of ourselves as partners are full of fallacies.
Reader's reactions seem to attest that we can be inclined to put the subjectivity of women at the altar of truth, equalizing it with objective reality. The marginalization of certain narratives in history doesn't inherently imbue them with an infallible veracity. The authoritative gaze of men has long shaped history, yet what contemporary forces dictate our narrative preferences, tethering us to one story over another? Is our embrace of fiction marked by an unsettling ease, a tendency to accept without due scrutiny? The fallacy in our convictions, whether about heroes, victims, or the truth we hold, demands a painful awareness—a call for unwavering critical examination.
We seem to be in our own inner conflict of wanting to believe the powerful but also, especially in recent eras, being inclined to take a side of those marginalized, traumatized, the underdogs, those who are sick and suffer even when our logic tells us they hold important, but only one piece of the puzzle of reality, equally locked in their own subjective experience.
It is important to bring the validity of the plurality of narratives that chart the complexity of truth, in history much as in the present day. While reading this book you can also observe how easily it is to discard the narrative of the person you don’t like, the person who has what you don’t have, the authoritarian person of wealth and power. We often too easily trash the objectives of people and groups we have something against as our hidden jealousy conceals our own drive to power - forgetting that we are discarding sometimes the vital fragments of reality - the truth we don’t like or the truth we don’t want to be the truth because the different narrative is more appealing to us. It is more enticing to consider that all of Andrew's wealth is a product of Helen’s wit, not his own, isn’t it? But as always, objective truth itself glides through our fingers.
In the end, we all like narratives that serve us psychological purposes even if that is one of those altruistic ones, being on the side of the disadvantaged and somewhat, oppressed.
In this kaleidoscopic exploration of narratives, Diaz prompts readers to ponder the acceptance of fiction and the ease with which certain narratives supersede others.
The plurality of perspectives emerges as a vital force, unveiling the intricate complexity of truth and challenging our propensity to discard narratives that diverge from our preconceived notions.
However, despite the brilliance of Diaz's conceptual framework, a lingering sense of unrealized potential permeates the novel for me. The author, like a literary chameleon, mimics diverse writing voices, replicating styles with varying degrees of success. The novel, no matter the interesting metaphysical ideas, at times feels like a literary exercise, a mosaic of styles awaiting the unearthing of Diaz's distinct narrative voice. He has yet to find his own reality and his own voice.
But considering the Pulitzer prize is already on his shelf at this stage of his writing, he does not need to sweat.
"Trust" stands as a testament to his literary prowess, an interesting exploration of narratives that transcend temporal boundaries, inviting readers into a realm where reality dances with the elusive delusions of powerful and rich, and disenfranchised.
In the complexities of human perception, one's reality often serves as the elusive counterpart to another's delusion. We all grapple with the fine balance between subjectivity and the quest for objective truth, assuming one believes in its existence.
”Trust” is an interesting experimental novel that endeavors to navigate the labyrinthine corridors of perception, trying to echo the works of literary greats in the process. Diaz boldly embarks on an ambitious quest to weave a postmodern tapestry within the traditional fabric of the American novel, and sometimes disappointingly falls flat in the process.
Rooted in the opulence and fervor of 1920s New York, his narrative is evidently inspired by Wharton and Fitzgerald, immersing itself in the quintessential American dream—an ethos of egoistical capitalism and individualism espoused by the enigmatic and highly controversial Ayn Rand. Rand is often hated for openly verbalizing the core beliefs that drive the modern world.
Within this milieu, status and purpose are found in the Gatsbyan pursuit of wealth, a narrative where money, in its irrational accumulation, makes the very fabric of reality.
If you are enough entrenched in self-serving maxims, you too can live the American dream and be the ideal of a “self-made” man.
The central figures of the novel, Andrew and Helen Bevel, a New York financier and his wife, stand as the embodiment of this ethos possessing wealth surpassing the GDP of entire nations. Money, in Diaz's narrative, transcends its material constraints, evolving into a numinous force that purchases not only worldly goods but the respect and heroic stature coveted by society. It purchases a new version of reality, a promise of a new version of self.
In a philosophical reverie, Diaz contemplates the metaphysical underpinnings of money and its entanglement with the power structures of finance, connecting its ontology to considerations about inequality and other real-life issues. Money often deemed the most intimate and private of subjects, becomes the focal point of introspection.
“Money. What is money?” he would mutter to himself. “Commodities in a purely fantastic form.”
What is the thing that makes money rule all and what makes it create such mythical creatures as Musk, Bezos, Gates, or anyone who accumulates wealth above all measure?
The possession of substantial wealth transcends mere affluence; it constitutes a multidimensional state that extends beyond material opulence. In the modern world, rich people become saints of capitalism on whose altar many will bow their knees in restless pursuit of the obsession of more. An insatiable hunger lurks beneath the veneer of ambition. We crave more—more recognition, more possessions, more moments of fleeting ecstasy. It's the ceaseless pursuit of the 'I,' the insistent tug of a selfhood hungry for validation in a marketplace teeming with competing egos.
The novel's thematic core delves into the symbiotic relationship between money and fiction, unveiling the role of wealth and power in ”bending and aligning reality itself” to one’s will. In the labyrinth of egoistic capitalism, the appetite for more is not merely a preference; it's a manifesto, a declaration of existence in a world that measures worth in quantifiable increments. We navigate this societal bazaar with a shopping cart of desires, each acquisition a testament to our standing in the grand bazaar of self-importance.
Yet, in this relentless pursuit, we may find ourselves ensnared in the paradox of plenty—amidst abundance, a gnawing emptiness persists. The 'more' we accumulate becomes a fleeting mirage, dissipating just as we approach its shimmering allure.
”Trust” delves into the trap of the human spirit that money represents—a modern-day holy grail, a philosopher's stone, that fails to deliver to promise of ecstasy and transfiguration. The narrative prods readers to ponder the transformative power of immense fortune and its potential to shape any future one wants, or thinks they want. The illusion of wealth becomes shattered in rich man's dystopian future as a poignant reflection on the isolation it begets—a lonely existence where the blanket of one's public image serves as the sole comfort, rendering the individual a mere projection of society's idea of success and freedom, without the person's grasp of the true essence of those values.
”So if money is fiction, finance capital is the fiction of a fiction. That's what all those criminals trade in: fictions... Money is at the core of it all. An illusion we've all agreed to support. Unanimously.”
The tragic narrative arc of Andrew Bevel, reminiscent of Gatsby's ill-fated pursuit, unfolds as a pursuit of his own ghostly image. Wealth begets the power to construct false narratives that offer a semblance of freedom from the judgments of others. Yet, like Gatsby, the wealth fails to liberate him from the shackles of self-deception and a reluctance to confront the fundamental truths of his existence. Yes, as Bevel and Gatsby, one can have all the worldly power and wealth, and still be overwhelmed and riddled with shame, desperately clinging to other people's perception of themselves to the point of addiction. The more accolades amassed, the more self-hate seems to gather in the shadowy recesses of the psyche, a paradoxical companion to the glitz and glamour.
They, adorned in the regalia of influence, find themselves desperately clutching to the perceptions of others as if they were a lifeline. It's an addiction, an insidious yearning for external validation to stave off the encroaching tide of self-doubt. The more eyes applaud, the more hollow the applause seems to ring. In the pursuit of worldly triumphs, the corridors of power become a labyrinth of self-deception.
As the narrative unfolds in a Rashomonian structure, Diaz probes the essential question: Whose narrative should we Trust?
In the metafictional legacy of Borges and Calvino, the novel fragments into four different parts with distinct narratives and voices that are in communication with each other. Each part interrogates the reliability of the other, creating a literary kaleidoscope that challenges the reader's perception. The narrators of almost all parts either are or could be considered unreliable with unpure motives.
There is also a shift in literary style, the first part being a self-proclaimed hommage to Warthon, Henry James and Fitzgerald, but in reality, landing more closely to the style of Taylor Jenkins Raid than the literary titans.
The second part is meant to be informative and dry, written by Ida, Bevel's ghostwriter, a fabricated reality of what our protagonist wanted to be the truth about him and his wife’s life, inspired by the autobiographical style of great men of American history that Bevel wholeheartedly wants to be remembered as.
In the third part, a memoir by Ida, Bevel’s ghostwriter, more truth is presumingly revealed, and in Ida’s memoir, the writing style becomes more modern, philosophical and reflective. Marx is mentioned as Diaz’s influence and this section gives a commentary on capitalism and its leftist critique in the voice of Ida's anarchist father.
Here the other fundamental idea of a novel is revealed - the greatness of women hidden in history written by men. The bending of a woman’s character to fit into the myth the man in her life needed for himself. Complicated search for the truth of women’s lives and their own voices in men male-dominated world. But Ida has many motives for being unreliable, emotionally involved, and appalled by male narratives that dominate the world. Her writing is inspired by detective fiction she adored in youth, by Agatha Christie and Dorothy Sayers: “These women showed me I did not have to conform to the stereotypical notions of the feminine world.… They showed me that there was no reward in being reliable or obedient: The reader’s expectations and demands were there to be intentionally confounded and subverted.”
The grand finale of the book is a disjointed narrative of dying Mildred Bevel's morphine-addled diary, which serves as the crescendo of revelation—her nonlinear perspective where past, present, and future coalesce in a feverish dreamscape.
Influenced by feminist literary giants such as Woolf, Rhys and Lessing, this section unveils the untold stories of women relegated to the shadows of history—a secret creative force behind the lives of men.
“Short selling is folding back time. The past making itself present in the future.”
In the tradition of Charlotte Perkins Gilman’s “The Yellow Wallpaper this section plays in the idea of women locked behind doors which is the generative power of men’s lives. The genius women whose voices were marginalized, silenced, made appear mad like a woman in the attic through history - voices of women we may only hear distorted - through the stories of their successful husbands or in no way at all. The genius of women who rule from the shadows, often unclaimed and unrecognized by the collective, still contains the intellectual fuel for men. Helen’s voice brings the unnamed and untold stories buried beneath American financial power.
Here achievement and money are not essential - being is.
In the metanarrative of the novel, the same question is posed again and again, whose narrative do we Trust?
From what I gathered, all the readers seem to consider the last part of the novel it great reveal - a reveal of the truth so concealed in previous voices. But I can’t help but wonder why.
Because the last two sections are written by women? Because they are written in a more appealing, literary, postmodern style? Because the last part was written by a dying woman? We often forget that women also have their own mythologies of their identities - sometimes containing inflation of their own. They can also be threatened by the power of men and create their own grandiose narrative of themselves. Marriages are complex and our perceptions of ourselves as partners are full of fallacies.
Reader's reactions seem to attest that we can be inclined to put the subjectivity of women at the altar of truth, equalizing it with objective reality. The marginalization of certain narratives in history doesn't inherently imbue them with an infallible veracity. The authoritative gaze of men has long shaped history, yet what contemporary forces dictate our narrative preferences, tethering us to one story over another? Is our embrace of fiction marked by an unsettling ease, a tendency to accept without due scrutiny? The fallacy in our convictions, whether about heroes, victims, or the truth we hold, demands a painful awareness—a call for unwavering critical examination.
We seem to be in our own inner conflict of wanting to believe the powerful but also, especially in recent eras, being inclined to take a side of those marginalized, traumatized, the underdogs, those who are sick and suffer even when our logic tells us they hold important, but only one piece of the puzzle of reality, equally locked in their own subjective experience.
It is important to bring the validity of the plurality of narratives that chart the complexity of truth, in history much as in the present day. While reading this book you can also observe how easily it is to discard the narrative of the person you don’t like, the person who has what you don’t have, the authoritarian person of wealth and power. We often too easily trash the objectives of people and groups we have something against as our hidden jealousy conceals our own drive to power - forgetting that we are discarding sometimes the vital fragments of reality - the truth we don’t like or the truth we don’t want to be the truth because the different narrative is more appealing to us. It is more enticing to consider that all of Andrew's wealth is a product of Helen’s wit, not his own, isn’t it? But as always, objective truth itself glides through our fingers.
In the end, we all like narratives that serve us psychological purposes even if that is one of those altruistic ones, being on the side of the disadvantaged and somewhat, oppressed.
In this kaleidoscopic exploration of narratives, Diaz prompts readers to ponder the acceptance of fiction and the ease with which certain narratives supersede others.
The plurality of perspectives emerges as a vital force, unveiling the intricate complexity of truth and challenging our propensity to discard narratives that diverge from our preconceived notions.
However, despite the brilliance of Diaz's conceptual framework, a lingering sense of unrealized potential permeates the novel for me. The author, like a literary chameleon, mimics diverse writing voices, replicating styles with varying degrees of success. The novel, no matter the interesting metaphysical ideas, at times feels like a literary exercise, a mosaic of styles awaiting the unearthing of Diaz's distinct narrative voice. He has yet to find his own reality and his own voice.
But considering the Pulitzer prize is already on his shelf at this stage of his writing, he does not need to sweat.
"Trust" stands as a testament to his literary prowess, an interesting exploration of narratives that transcend temporal boundaries, inviting readers into a realm where reality dances with the elusive delusions of powerful and rich, and disenfranchised.
May 8, 2023
Now joint Pulitzer Prize winner.
12th in my 2022 Booker Prize longlist rankings - my Bookstagram rating, ranking, summary review and Book themed Golden Retriever photo is here: https://www.instagram.com/p/Chgs5vzs-...
This is a tale which bridges two cultures (art/literature and high finance), but which is very much a book of two halves (the first almost deliberately weak, the second intriguing) and which left me in two minds (hence my rating – a mix of a 4*+ concept and a 2* execution).
CP Snow famously wrote an article/lecture/essay book on the chasm that had opened between the cultures of arts and science – in my view (and as someone with a foot in both camps) there is a similar divide now between the worlds of literary fiction and finance. If you can find someone in finance who reads they are likely to read non-fiction books with possible some genre fiction – and similarly few literary fiction books even cover finance. Of those that do many seem to misunderstand it (for example confusing the direction of interest rate change impacts) – and even my book of 2022 Natasha Brown’s “Assembly” uses banking as a canvas on which to focus a social mobility/meritocracy lens on the topic of colonialism and its lasting impacts (eg we do not know what job the unnamed narrator does for her bank – just her seniority).
So I welcome this book’s explicit aim to address that divide and to provide a literary exploration of capital, investment and banking and via one dictionary definition of the title. The author has further stated his aim as examining and deconstructing one of the foundational myths/classic American narratives of American society (the role of free market capitalism and the investment markets and particularly the self-made wealthy entrepreneur) in the same way that his first novel “In The Distance” did with the Western.
At the same time the author wanted to examine the other definition of Trust and in particular the idea of the trust that it is implicit in fiction and reading “Reading is always an act of trust. Whenever we read anything, from a novel to the label on a prescription bottle, trust is involved. That trust is based on tacit contracts whose clauses I wanted to encourage the reader to reconsider. As you read Trust and move forward from one section to the next, it becomes clear that the book is asking you to question the assumptions with which you walk into a text.”
Because this is a book written in four very different parts – each with a different writer, a different narrative voice, a different style and a different purpose. The Washington Post and leading Goodreads reviewer Ron Charles in his review says this quartet of very different stories is “what Wall Street Traders would call a 4-for-1 stock split” – thus illustrating perfectly my contended literature/finance divide, given that split into four identical parts is almost the exact opposite to what Diaz does. Interesting though I think some form of more identical split would have worked much better here (see later).
The book starts with around a 100 page pastiche of (or possibly tribute to) Edith Wharton and her fiction which not only documented the Gilded Age of America but which was towards the end of the literary realism movement – a novel called “Bonds” by Harold Vanner which tells the story of a Wall Street banker/trader/tycoon Benjamin Rask – his taking advantage of the 1920s bull market and then his more controversial role in the 1929 Crash; alongside the story of his art patron/philanthropist wife Helen and her mental instability and treatment for that in Europe.
The second section is around a 100 page pastiche (and in this case definitely not a tribute to) the self-aggrandising (if unfinished) business autobiography of a Wall Street banker/trader/tycoon Andrew Revel – his role in growing the nation’s prosperity by helping the 1920s bull market and then his saddened realisation that speculation had driven the market too high leading him to evade the 1929 Crash; alongside the story of his art patron/philanthropist late-wife Mildred and her emotional and mental stability ahead of her treatment for cancer in Europe.
The third section (and easily the strongest of the book) is written by Ida Partenza – the daughter of an Italian anarchist effectively in America as a political refugee – she is hired by Revel to write the second part of the novel as a counterbalance to the sensationalist impact of the first (which he and everyone else regards as his lightly fictionalised biography). While researching the book (to the limited permitted by Revel who wishes to tightly control the narrative) Ida finds that neither Vanner or Revel’s portrayal of Mildred seems to meet the complexity of her character but is unable to discover the true Mildred. Parts of this section are narrated closer to our present day as the now elderly Ida visits a museum made of the Revel home (where she wrote her book) and explores the archives.
The fourth and shortest part of the book (albeit still much stronger than the first two) is Ida’s final discovery – a very fragmentary diary written by Mildred before her death, while being treated in Europe, which contains a revelation as to the real story of Revel (and his roles in both the bull market and crash) which to be honest has been pretty easy to guess from the beginning.
As I have implied this is a book of two halves – the first two sections for me were very weak although mercifully easy to skip through at a quick pace, as my brother’s review says “there is barely a word that is not wasted”. In the first section in particular I started writing down passages and turns of phrase that annoyed me before deciding to go for the pastiche rather than tribute option. What I was less clear on was the author’s decision to lead with the entirety of the two sections rather than having the four sections interleaved through the novel. I believe the aim was to draw the reader into each story and to the world it posits before revealing another layer of the story – but neither for me was sufficiently well written to draw me in so spoiling the effect. Further there are by now myriad mainstream media and Goodreads reviews which make the set up of the first two parts (as revealed in the third) clear which also negated any impact of revelation – and in some ways that is anyway to the book’s benefits as I think many modern readers taking the first section (at least) on face value may well have bailed.
I am sure there is a point for this – as the book itself says “the worst literature, my father would say, is always written with the best intentions”.
The obviousness of the “reveal” in the fourth section I can live with better – as the book seems to strongly signpost this by discussing (on two separate but importantly linked occasions) someone recounting a detective style novel and someone else (older or wiser) having to effectively pretend that the reveal of the murderer is a surprise.
There is though a lot to like in the novel in terms of its concept – both at a macro and more micro level.
On the overall level I liked (while not thinking it entirely worked) the ideas of linking the sustained and collective illusion (or perhaps collective decision to place collective faith in a narrative) that lies behind not just fictional stories themselves, but non-fictional accounts, behind national (and national identity) stories, behind political movements and also behind financial markets.
On the micro level I enjoyed for example: the exploration of the marginalisation of (and even worse co-opting or blatant stealing of) female voices and ideas; the idea that a blend of human psychology with mathematical analysis is key to investment success (and it reminded me of the intersection of art-empathy-gut call & data-science-hard facts at the heart of commercial insurance underwriting); the fragmentary ideas in the fourth section about the transition from literary realism to literary modernism (and its equivalent in music).
My thanks to Panmacmillan for an ARC via NetGalley
12th in my 2022 Booker Prize longlist rankings - my Bookstagram rating, ranking, summary review and Book themed Golden Retriever photo is here: https://www.instagram.com/p/Chgs5vzs-...
This is a tale which bridges two cultures (art/literature and high finance), but which is very much a book of two halves (the first almost deliberately weak, the second intriguing) and which left me in two minds (hence my rating – a mix of a 4*+ concept and a 2* execution).
CP Snow famously wrote an article/lecture/essay book on the chasm that had opened between the cultures of arts and science – in my view (and as someone with a foot in both camps) there is a similar divide now between the worlds of literary fiction and finance. If you can find someone in finance who reads they are likely to read non-fiction books with possible some genre fiction – and similarly few literary fiction books even cover finance. Of those that do many seem to misunderstand it (for example confusing the direction of interest rate change impacts) – and even my book of 2022 Natasha Brown’s “Assembly” uses banking as a canvas on which to focus a social mobility/meritocracy lens on the topic of colonialism and its lasting impacts (eg we do not know what job the unnamed narrator does for her bank – just her seniority).
So I welcome this book’s explicit aim to address that divide and to provide a literary exploration of capital, investment and banking and via one dictionary definition of the title. The author has further stated his aim as examining and deconstructing one of the foundational myths/classic American narratives of American society (the role of free market capitalism and the investment markets and particularly the self-made wealthy entrepreneur) in the same way that his first novel “In The Distance” did with the Western.
At the same time the author wanted to examine the other definition of Trust and in particular the idea of the trust that it is implicit in fiction and reading “Reading is always an act of trust. Whenever we read anything, from a novel to the label on a prescription bottle, trust is involved. That trust is based on tacit contracts whose clauses I wanted to encourage the reader to reconsider. As you read Trust and move forward from one section to the next, it becomes clear that the book is asking you to question the assumptions with which you walk into a text.”
Because this is a book written in four very different parts – each with a different writer, a different narrative voice, a different style and a different purpose. The Washington Post and leading Goodreads reviewer Ron Charles in his review says this quartet of very different stories is “what Wall Street Traders would call a 4-for-1 stock split” – thus illustrating perfectly my contended literature/finance divide, given that split into four identical parts is almost the exact opposite to what Diaz does. Interesting though I think some form of more identical split would have worked much better here (see later).
The book starts with around a 100 page pastiche of (or possibly tribute to) Edith Wharton and her fiction which not only documented the Gilded Age of America but which was towards the end of the literary realism movement – a novel called “Bonds” by Harold Vanner which tells the story of a Wall Street banker/trader/tycoon Benjamin Rask – his taking advantage of the 1920s bull market and then his more controversial role in the 1929 Crash; alongside the story of his art patron/philanthropist wife Helen and her mental instability and treatment for that in Europe.
The second section is around a 100 page pastiche (and in this case definitely not a tribute to) the self-aggrandising (if unfinished) business autobiography of a Wall Street banker/trader/tycoon Andrew Revel – his role in growing the nation’s prosperity by helping the 1920s bull market and then his saddened realisation that speculation had driven the market too high leading him to evade the 1929 Crash; alongside the story of his art patron/philanthropist late-wife Mildred and her emotional and mental stability ahead of her treatment for cancer in Europe.
The third section (and easily the strongest of the book) is written by Ida Partenza – the daughter of an Italian anarchist effectively in America as a political refugee – she is hired by Revel to write the second part of the novel as a counterbalance to the sensationalist impact of the first (which he and everyone else regards as his lightly fictionalised biography). While researching the book (to the limited permitted by Revel who wishes to tightly control the narrative) Ida finds that neither Vanner or Revel’s portrayal of Mildred seems to meet the complexity of her character but is unable to discover the true Mildred. Parts of this section are narrated closer to our present day as the now elderly Ida visits a museum made of the Revel home (where she wrote her book) and explores the archives.
The fourth and shortest part of the book (albeit still much stronger than the first two) is Ida’s final discovery – a very fragmentary diary written by Mildred before her death, while being treated in Europe, which contains a revelation as to the real story of Revel (and his roles in both the bull market and crash) which to be honest has been pretty easy to guess from the beginning.
As I have implied this is a book of two halves – the first two sections for me were very weak although mercifully easy to skip through at a quick pace, as my brother’s review says “there is barely a word that is not wasted”. In the first section in particular I started writing down passages and turns of phrase that annoyed me before deciding to go for the pastiche rather than tribute option. What I was less clear on was the author’s decision to lead with the entirety of the two sections rather than having the four sections interleaved through the novel. I believe the aim was to draw the reader into each story and to the world it posits before revealing another layer of the story – but neither for me was sufficiently well written to draw me in so spoiling the effect. Further there are by now myriad mainstream media and Goodreads reviews which make the set up of the first two parts (as revealed in the third) clear which also negated any impact of revelation – and in some ways that is anyway to the book’s benefits as I think many modern readers taking the first section (at least) on face value may well have bailed.
I am sure there is a point for this – as the book itself says “the worst literature, my father would say, is always written with the best intentions”.
The obviousness of the “reveal” in the fourth section I can live with better – as the book seems to strongly signpost this by discussing (on two separate but importantly linked occasions) someone recounting a detective style novel and someone else (older or wiser) having to effectively pretend that the reveal of the murderer is a surprise.
There is though a lot to like in the novel in terms of its concept – both at a macro and more micro level.
On the overall level I liked (while not thinking it entirely worked) the ideas of linking the sustained and collective illusion (or perhaps collective decision to place collective faith in a narrative) that lies behind not just fictional stories themselves, but non-fictional accounts, behind national (and national identity) stories, behind political movements and also behind financial markets.
On the micro level I enjoyed for example: the exploration of the marginalisation of (and even worse co-opting or blatant stealing of) female voices and ideas; the idea that a blend of human psychology with mathematical analysis is key to investment success (and it reminded me of the intersection of art-empathy-gut call & data-science-hard facts at the heart of commercial insurance underwriting); the fragmentary ideas in the fourth section about the transition from literary realism to literary modernism (and its equivalent in music).
My thanks to Panmacmillan for an ARC via NetGalley
August 18, 2023
ESERCIZI DI FIDUCIA
Lunch atop a Skyscraper, foto di (probabilmente) Charles Clyde Ebbets (l'autore il più accreditato), pubblicata sul New York Herald Tribune del 2 ottobre 1932. Il grattacielo in costruzione è quello del Rockefeller Center.
Si comincia dalla versione B: B nel senso di biografia. La biografia di Andrew Bevel scritta da Harold Vanner.
Se non che il soggetto raccontato considera inattendibile quel racconto, non degno di fiducia (= trust):
Da non credere. Gli eventi immaginari in quell’opera di finzione ora, nel mondo reale, hanno una presenza più forte dei fatti autentici della mia vita.
Il romanzo è ambientato principalmente negli anni Venti e Trenta del Novecento.
E allora si mette a scrivere in prima persona. Solo che essendo di professione uomo d’affari – un grande affarista – non completa l’opera, scrive dei brani e li collega con una serie di appunti, un catalogo-indice di quello che andrebbe scritto. Ma lui non scriverà.
Così ingaggia Ida Partenza per scrivere la versione A: A come autobiografia. Ida Partenza fungerà da segretaria dattilografa stenografa e ghost writer:
Ecco come procederemo. Io le racconterò la mia storia, così come mi verrà. Lei la trascriverà e, se necessario, rielaborerà le frasi per far sì che il tutto abbia un senso. Eliminerà le ridondanze e le contraddizioni. Metterà in ordine gli eventi (sa bene come si tenda a saltare avanti e indietro nella conversazione). Si assicurerà che niente suoni troppo stridente o oscuro al lettore medio. Forse ogni tanto aggiungerà un’infiorettatura. Sa, tutte quelle piccole modifiche. Solo perché si legga bene. Io le fornirò la storia, naturalmente, ma lascerò a lei tutti i dettagli e la limatura.
Se non che, Diaz in vece che proporci la versione A, ci racconta tutto quello che le sta intorno: come Ida conosce il ricchissimo finanziere Andrew Bevel, come supera la selezione per il posto di segretaria, le sessioni di lavoro, la sua vita privata a Brooklyn, le sue ricerche. E ci regala pagine molto belle - quello che ho trovato un ritratto davvero emozionante – dedicate al padre, tipografo di fede anarchica, che negli Stati Uniti arriva fuggendo dall’Italia, più che emigrare.
Qui e là, in corsivo, Ida, quasi mezzo secolo dopo – e nel frattempo passata da ghost writer ad affermata scrittrice - racconta come è finalmente riuscita a leggere ed esaminare le carte private e personali lasciate da Mildred, la moglie di Bevel, conservate in quella che fu la loro casa, ora diventata un museo.
Il libro si conclude – e non potrebbe essere altrimenti – con estratti dai diari di Mildred, che riscrivono la storia, peraltro rimasta inedita. Memorie nel ricordo.
Gradevolissimo gioco metanarrativo che ruota intorno al concetto di trust/fiducia, che però è anche trust/fondo fiduciario. Tanto più importante in quanto si parla di alta finanza. La "voce" cambia ogni volta che cambia il narratore, Diaz fa parlare-scrivere-raccontare i quattro narratori ciascuno con il suo specifico stile.
Qui e là sa toccare corde profonde. Applausi a Diaz.
Lunch atop a Skyscraper, foto di (probabilmente) Charles Clyde Ebbets (l'autore il più accreditato), pubblicata sul New York Herald Tribune del 2 ottobre 1932. Il grattacielo in costruzione è quello del Rockefeller Center.
Si comincia dalla versione B: B nel senso di biografia. La biografia di Andrew Bevel scritta da Harold Vanner.
Se non che il soggetto raccontato considera inattendibile quel racconto, non degno di fiducia (= trust):
Da non credere. Gli eventi immaginari in quell’opera di finzione ora, nel mondo reale, hanno una presenza più forte dei fatti autentici della mia vita.
Il romanzo è ambientato principalmente negli anni Venti e Trenta del Novecento.
E allora si mette a scrivere in prima persona. Solo che essendo di professione uomo d’affari – un grande affarista – non completa l’opera, scrive dei brani e li collega con una serie di appunti, un catalogo-indice di quello che andrebbe scritto. Ma lui non scriverà.
Così ingaggia Ida Partenza per scrivere la versione A: A come autobiografia. Ida Partenza fungerà da segretaria dattilografa stenografa e ghost writer:
Ecco come procederemo. Io le racconterò la mia storia, così come mi verrà. Lei la trascriverà e, se necessario, rielaborerà le frasi per far sì che il tutto abbia un senso. Eliminerà le ridondanze e le contraddizioni. Metterà in ordine gli eventi (sa bene come si tenda a saltare avanti e indietro nella conversazione). Si assicurerà che niente suoni troppo stridente o oscuro al lettore medio. Forse ogni tanto aggiungerà un’infiorettatura. Sa, tutte quelle piccole modifiche. Solo perché si legga bene. Io le fornirò la storia, naturalmente, ma lascerò a lei tutti i dettagli e la limatura.
Se non che, Diaz in vece che proporci la versione A, ci racconta tutto quello che le sta intorno: come Ida conosce il ricchissimo finanziere Andrew Bevel, come supera la selezione per il posto di segretaria, le sessioni di lavoro, la sua vita privata a Brooklyn, le sue ricerche. E ci regala pagine molto belle - quello che ho trovato un ritratto davvero emozionante – dedicate al padre, tipografo di fede anarchica, che negli Stati Uniti arriva fuggendo dall’Italia, più che emigrare.
Qui e là, in corsivo, Ida, quasi mezzo secolo dopo – e nel frattempo passata da ghost writer ad affermata scrittrice - racconta come è finalmente riuscita a leggere ed esaminare le carte private e personali lasciate da Mildred, la moglie di Bevel, conservate in quella che fu la loro casa, ora diventata un museo.
Il libro si conclude – e non potrebbe essere altrimenti – con estratti dai diari di Mildred, che riscrivono la storia, peraltro rimasta inedita. Memorie nel ricordo.
Gradevolissimo gioco metanarrativo che ruota intorno al concetto di trust/fiducia, che però è anche trust/fondo fiduciario. Tanto più importante in quanto si parla di alta finanza. La "voce" cambia ogni volta che cambia il narratore, Diaz fa parlare-scrivere-raccontare i quattro narratori ciascuno con il suo specifico stile.
Qui e là sa toccare corde profonde. Applausi a Diaz.
April 11, 2024
So tedious... would have been infinitely more impactful by losing two of the four sections and about 200 pages.
May 9, 2023
Stocks, shares and all that garbage are just claims to a future value. So if money is fiction, finance capital is the fiction of a fiction. That's what all those criminals trade in: fictions... Money is at the core of it all. An illusion we've all agreed to support. Unanimously.
This is such a smart book, and smart in all kinds of ways. The central trope draws parallels between capitalism, especially financial instruments, and fiction - and those images and ideas proliferate throughout the book.
Along the way we have a central story that gets undermined, inverted and investigated through connected texts; we have assertions about the representation of gender in writing and the worn-out conventions that imprison women within certain comfortable roles; and we get a host of literary references and allusions from Henry James and Edith Wharton, to Woolf and Barrett Browning, to Plath ('a bell in a bell jar won't ring') and even Rebecca Solnit's Men Explain Things to Me.
Diaz is especially concerned with American-based capitalism with the Wall Street setting and the accusation of wealth built upon slavery but the points transfer all too easily beyond the US. It's worth noting, too, the skill with which he captures the tones of the various texts that comprise the book: the nineteenth-century pastiche of the inset novel, the fragmented autobiography of a man determined to impose his own view on reality, the voice of a young female Italian-American from a lower class and anarchist family; the diary that finally gives a voice to the contested wife at the heart of the story who holds a secret - albeit, a ventriloquized voice, as they all are, written by a man.
For all the dizzying layers, this is a fast read with a page-turner appeal that lies alongside its more pressing ideas. Huge fun while also being serious in a core politicised way.
Many thanks to Picador for an ARC via NetGalley
May 14, 2022
OH EM GEE. I’m begging you to stick it out with this one. Pleading. It pays off, I promise you. When Part 3 hits and the narrative begins to morph into what this story truly is, DAMN. A masterful novel on the powers of perception, wealth, privilege, clout, and manipulation. This is a complete 180 from my lover “In the Distance” (his debut) and that was a boss move. Yup, Diaz cemented his place as one of my all-time fave writers. Man has got range. Woof.
More to come.
More to come.
Read
August 14, 2023
Andy Krieger became a famous foreign exchange trader on the heels of the 1987 crash known as Black Monday. From his office in New York, Andy maneuvered a trade relating to the value of the New Zealand dollar (Kiwi) where he made $300 million dollars.
When was the last time you made $300 million dollars in one day? If you did, chances are you are a foreign exchange (Forex) trader. You can look up the richest current day Forex traders. Leading the pack is George Soros with a new worth of $8.6 billion.
For the average working stiff grinding it out in an office or behind a counter, in a factory or on a construction site, such astronomical sums of money exist in a different universe.
Hernan Diaz's absorbing novel examines the world of kingpin financiers back in the 1920s and 1930s. Ah, the power and magic of money.
Trust contains a four part structure: a novel, an autobiography, a memoir and a diary. Since readers are best discovering the twists and surprises while turning the pages, I'll avoid dropping any spoilers by zeroing in on several choice specifics:
BONDS, A NOVEL
Hernan Diaz acknowledges Henry James as a prime influence. Bonds, Diaz's fictional novel within his novel, is authored by one Harold Vanner. It might be a stretch but I couldn't help thinking of another author with a similar name: Hugh Vereker, the novelist in James' Figure in the Carpet, where sage Vereker divulges his big secret to a young literary critic: his central authorial purpose undergirds all of his writing, like a complex figure in a Persian carpet. I kept wondering if, by having Bonds as his first part, Hernan Diaz was, in turn, indirectly pointing to his authorial purpose in writing Trust. Hint: Think in terms of fiction influencing history along with history influencing fiction.
“Because he had enjoyed almost every advantage since birth” - Harold Vanner's novel about Benjamin Rask opens with these words. We come to learn how Rask used advantages of inherited wealth and his special gifts for mathematics and finance to become on of the wealthiest individuals in the world. Indeed, applying discipline and creativity, Rask can been seen as a variation on Hermann Hesse's Magister Ludi - but instead of the Glass Bead Game, Rask's sophisticated game revolves around reading stock market ticker tape. And he doesn't even have to travel to Wall Street; rather, Rask can maneuver stock transactions from the privacy of his townhouse on West 17th Street.
The plot thickens when Rask marries Helen Brevoort, a young lady who possesses special gifts of her own. However, Helen also has serious health problems. The bulk of Vanner's later chapters provides the gruesome, grisly details.
Thus we have the tale of Benjamin Rask, financial genius, husband, philanthropist, cornerstone of a great, booming American economy. But, but, but...reading between the lines, we can detect what the novel does not address: things like the institution of slavery, the decimation of Native Americans, the brutalization and exploitation of waves of immigrant populations, the pollution and destruction of huge swaths of land and water. Perhaps this unspoken dimension speaks to Hernan Diaz asking readers to question the framework and underlying assumptions of all historical accounts whatever their form: novels, biography, historical treatises, history textbooks.
MY LIFE
In the second section of Trust, we read about the life of a real financier – Andrew Bevel (real, that is, in the context of Hernan Diaz's novel). There is a particular reason Bevel wants to recap his odyssey as one of the leading men of his age, a reason relating to Harold Vanner's novel. Again, so as to avoid spoilers, I'll focus on a few specific passages, as per -
“During this time I saw not only the destiny of our great nation fulfilled but also of my own.”
Much of Bevel's autobiography amounts to a paean to American capitalism. Bevel goes to great lengths to proclaim an individual's success and the good of the country are one and the same. Sounds like someone is living in the bubble of his own mythology. To note one of the many, many instances where individual profit and the common good are contrary: the Sackler family and the pharmaceutical industry made a fortune by getting millions of Americans hooked on OxyContin.
“Woman represented only 1.5 per cent of the dilettantish speculators at the beginning of the decade (1920s). At the end they neared 40 per cent. Could there have been a clearer indicator of the disaster to come?”
Bevel's misogyny is almost laughable. When in doubt, place the blame on women. Bevel is writing this in the early 1940s, where the world of serious business has always been the exclusive domain of men. Of course, white men.
“I have a scientific approach to business. Every investment requires profound knowledge of a myriad of specific details.”
Sure, Bevel, you're very scientific but, as we find out in later sections of the novel, Bevel is also a narrow-minded, self-serving scumbag and, even worse, a criminal. Guy should have been put behind bars.
“All of us aspire to great wealth.”
Do we all, Bevel? The ultimate in arrogance: assuming everyone on the planet values what he values, Bevel carries on as if the financier combined with the Protestant work ethic is the final stage of human evolution. Pathetic.
A MEMOIR, REMEMBERED
The two preceding sections are interesting but with this third section where writer Ida Partenza reflects back on the dramatic turning point in her younger life, Trust picks up steam and becomes a page-turner.
"Fiction harmless? Look at religion. Fiction harmless? Look at the oppressed masses content with their lot because they have embraced the lies imposed on them. History itself is just a fiction - a fiction with an army. And reality? Reality is a fiction with an unlimited budget. That's what it is. And how is reality funded? With yet another fiction: money. Money is at the core of it all. An illusion we've all agreed to support. Unanimously."
So speaks Ida to her father in their rundown Brooklyn apartment. One could read Trust as an amplification of Ida's words here. So much so I'll conclude with a recommendation: Pick up this Hernan Diaz novel and read with an eye to the final two sections. We shouldn't be surprised it takes a pair of very perceptive, sensitive, intelligent women to sort things out.
Hernan Diaz, born 1970
October 18, 2022
I love narratives about narratives, stories within stories, and TRUST is an excellent example of the genre that is also one of the most straightforward. I know some readers dislike a feeling of manipulation or bait and switch when they find one narrative to contradict the other, but while those things happen in this book, the book also isn't interested in pulling the rug. It is quite clear about what each section is, and it illuminates as you go.
I do want to provide one important note: it was a good thing I saw the accolades for this before I started because at first I wasn't sure what the big deal was and it's very possible I would have put it down. The first part does feel rather like Wharton, a story of a prestigious and tragic wealthy family in New York. The second part had me once again going back to confirm that everyone loved this book, because I was immediately wrinkling my nose at the tedious, self-involved memoir of a man in finance, who bore a strong resemblance to the man in the first story. But I powered through and I wanted to let you know that you will be rewarded for doing so. The second part is supposed to be that grating and it will be worth getting through it.
I admit that I do not read many books by cis men these days (my excuse is hilariously the same excuse of the many cis men who read almost entirely cis men--that I let my interests guide my reading) and when I do I have noticed more books with female protagonists as they begin to reckon with patriarchy, though sometimes it is just acknowledging rather than reckoning. This frustrates me more than it pleases me. Plenty of women write about women like this, it is unclear what these men are contributing or what they're trying to say. I would much rather see men grapple with their role in patriarchy directly, but I rarely do. And then this book came along. It is a book about capitalism, the financial system, and wealth, but it is also a story about how men become the heroes of these stories. This book is very smart in how it engages with patriarchy and misogyny, showing us not just the wealthy exploiting the work and care of women. It also uses the voices of men and, ultimately, women as well. The echo of a man telling a woman's story put up against the work women do to tell men's stories bounce back and forth off each other like two mirrors held parallel. I was so satisfied by the end, this is exactly the kind of interesting writing that I have been wanting but mostly not getting from men writing literary fiction.
Not a puzzle box, really (after all, the table of contents tells you the four parts and their authors) but still giving you the pleasures of new context making the story deeper and richer as you go.
There were some elements of the final section that were too clear for my liking, I would have liked them weaved in in a way that fit the rest of the prose and style. Felt a bit clunky for how expertly done the rest is. But that is also me being a devoted reader of puzzle box stories looking for subtlety and surprise. By the final section you already suspect what you will read, so it is not really a surprise after all.
I do want to provide one important note: it was a good thing I saw the accolades for this before I started because at first I wasn't sure what the big deal was and it's very possible I would have put it down. The first part does feel rather like Wharton, a story of a prestigious and tragic wealthy family in New York. The second part had me once again going back to confirm that everyone loved this book, because I was immediately wrinkling my nose at the tedious, self-involved memoir of a man in finance, who bore a strong resemblance to the man in the first story. But I powered through and I wanted to let you know that you will be rewarded for doing so. The second part is supposed to be that grating and it will be worth getting through it.
I admit that I do not read many books by cis men these days (my excuse is hilariously the same excuse of the many cis men who read almost entirely cis men--that I let my interests guide my reading) and when I do I have noticed more books with female protagonists as they begin to reckon with patriarchy, though sometimes it is just acknowledging rather than reckoning. This frustrates me more than it pleases me. Plenty of women write about women like this, it is unclear what these men are contributing or what they're trying to say. I would much rather see men grapple with their role in patriarchy directly, but I rarely do. And then this book came along. It is a book about capitalism, the financial system, and wealth, but it is also a story about how men become the heroes of these stories. This book is very smart in how it engages with patriarchy and misogyny, showing us not just the wealthy exploiting the work and care of women. It also uses the voices of men and, ultimately, women as well. The echo of a man telling a woman's story put up against the work women do to tell men's stories bounce back and forth off each other like two mirrors held parallel. I was so satisfied by the end, this is exactly the kind of interesting writing that I have been wanting but mostly not getting from men writing literary fiction.
Not a puzzle box, really (after all, the table of contents tells you the four parts and their authors) but still giving you the pleasures of new context making the story deeper and richer as you go.
There were some elements of the final section that were too clear for my liking, I would have liked them weaved in in a way that fit the rest of the prose and style. Felt a bit clunky for how expertly done the rest is. But that is also me being a devoted reader of puzzle box stories looking for subtlety and surprise. By the final section you already suspect what you will read, so it is not really a surprise after all.
May 28, 2023
Unfortunately I found this novel boring. I don’t have much to say – the characters felt uninspired, the writing dull, and the plot/frame device of a novel within a novel too clunky for my taste. Check out other negative reviews for extended takes. I’m moving on as quickly as I can to my next read.
March 7, 2024
To be honest, I am not always a fan of Pulitzer Prize winning authors/books. I sometimes wonder, whatever possessed the committee to pick them. A lot of times, the book is long (like this one), and/or over written and drawn out or not very well thought through. Or written in a way that doesn’t appeal to the average reader.
And typically, the Pulitzer Prize is given for its contribution to culture and humanity – not necessarily literary merits.
So, when this book, this winner of the Pulitzer Prize in 2023, was provided as a donation to my Little Free Library Shed, I was a bit skeptical about whether or not I would enjoy it.
Thus, when I opened the book to begin my reading of it, I found myself pleasantly surprised when I had to force myself to put it down, so I could get some sleep that first night.
What happened?
This book’s author’s writing happened.
It is an unusually-told story about interesting people. And it is a book spun from 4 narratives – a novel wrought from the tale of one man, his attempt to write his own story, his secretary’s memoir and a journal left by his deceased wife.
It is also a story, very much about wealth, family, and power set in 1930s New York.
And there is something to be said about a story about money. The value we place on it. That money can buy what we need and maybe what we want and eventually what we may dream about. But, at the same time, it makes us question, what really is money?
The author shared…
“The book is to an enormous extent about this man who's trying to control a narrative. And this is something that I found about wealth in general and wealth in America in particular. Great fortunes have the ability to distort and warp the reality around themselves. Furthermore, they have the power to align, to bend reality according to their own designs. I think, in fact, the greatest luxury good today out there is not, you know, mansions or yachts. It is reality itself.”
And the telling of this story, was done in such a way, that intrigued me as a reader. With…Lyrical prose. Complex but fascinating characters. Expert plotting.
But mostly, it was exquisite in its storytelling.
So, to say the least, I was happy to find that this Pulitzer Prize book was a worthy reading experience. For me. I recommend it wholeheartedly.
Interestingly enough, like most Pulitzer Prize winning books, there are mixed reviews. I am not surprised.
4.5 stars rounded up.
And typically, the Pulitzer Prize is given for its contribution to culture and humanity – not necessarily literary merits.
So, when this book, this winner of the Pulitzer Prize in 2023, was provided as a donation to my Little Free Library Shed, I was a bit skeptical about whether or not I would enjoy it.
Thus, when I opened the book to begin my reading of it, I found myself pleasantly surprised when I had to force myself to put it down, so I could get some sleep that first night.
What happened?
This book’s author’s writing happened.
It is an unusually-told story about interesting people. And it is a book spun from 4 narratives – a novel wrought from the tale of one man, his attempt to write his own story, his secretary’s memoir and a journal left by his deceased wife.
It is also a story, very much about wealth, family, and power set in 1930s New York.
And there is something to be said about a story about money. The value we place on it. That money can buy what we need and maybe what we want and eventually what we may dream about. But, at the same time, it makes us question, what really is money?
The author shared…
“The book is to an enormous extent about this man who's trying to control a narrative. And this is something that I found about wealth in general and wealth in America in particular. Great fortunes have the ability to distort and warp the reality around themselves. Furthermore, they have the power to align, to bend reality according to their own designs. I think, in fact, the greatest luxury good today out there is not, you know, mansions or yachts. It is reality itself.”
And the telling of this story, was done in such a way, that intrigued me as a reader. With…Lyrical prose. Complex but fascinating characters. Expert plotting.
But mostly, it was exquisite in its storytelling.
So, to say the least, I was happy to find that this Pulitzer Prize book was a worthy reading experience. For me. I recommend it wholeheartedly.
Interestingly enough, like most Pulitzer Prize winning books, there are mixed reviews. I am not surprised.
4.5 stars rounded up.
May 15, 2022
Bonds, futures, and securities: these products within the financial world practically offer themselves up to double entendres. In an interpersonal relationship, these words imply closeness, vows, maybe even love. On Wall Street, they mean investments, strategy, and cold hard cash. But however disparate the worlds of matrimony and finance may be, there is overlap. Both involve expectations and obligations. There is partnership. There is risk. At the center of that Venn diagram sits “Trust,” the intellectual new historical novel from Pulitzer Prize finalist Hernan Diaz. It’s a book that presents the myths and realities of a fictional power couple who actually made money when the stock market crashed in 1929.
Click here to read the rest of my review in the Pittsburgh Post-Gazette!
Click here to read the rest of my review in the Pittsburgh Post-Gazette!
April 2, 2022
Do not let the first part of this deter you. It sets up the pleasures yet to come. A novel within a novel with a memoir added to that. Wealth, money markets, relationships and the twisting of reality propels the narrative. Simply stated, this is enigmatic and elegant.
January 4, 2023
1.5, rounded up.
I was not a fan of Diaz's debut book, and I feared the worst from this, mainly because - as in that Pulitzer finalist - the subject matter (the Wild West in the first book, financial skullduggery and the Crash of '29 here) held little or no interest for me. So I was mildly relieved that this did not bog down TOO often or heavily into financial minutiae that would prove to be inscrutable - and from what I could glean from other's expert opinions, Diaz gets his bona fides on that score wrong more often than right anyway.
But what I wasn't expecting is that the book would prove to be so ... dull anyway. Honestly, I have no idea what the author wanted to say with this - over 400 pages that pretty much boils down to 'Behind every successful (and/or unscrupulous) man lies a woman'. Yawn.
The 'Rashomon' structure is neither executed well, nor particularly revelatory of any major surprises - it goes pretty much where you expect it to - and necessitated that long sections of the book were written in substandard prose to carry out the conceit. I cared not a whit for ANY of the characters, and the subsidiary ones who disappeared all too soon were far more interesting than any of the major players. I'd have loved to hear more of 'tieless man in suit'.
I can't say I'm disappointed as I didn't have many expectations for this, but so far the Booker judges have been extraordinarily derelict this year.
I was not a fan of Diaz's debut book, and I feared the worst from this, mainly because - as in that Pulitzer finalist - the subject matter (the Wild West in the first book, financial skullduggery and the Crash of '29 here) held little or no interest for me. So I was mildly relieved that this did not bog down TOO often or heavily into financial minutiae that would prove to be inscrutable - and from what I could glean from other's expert opinions, Diaz gets his bona fides on that score wrong more often than right anyway.
But what I wasn't expecting is that the book would prove to be so ... dull anyway. Honestly, I have no idea what the author wanted to say with this - over 400 pages that pretty much boils down to 'Behind every successful (and/or unscrupulous) man lies a woman'. Yawn.
The 'Rashomon' structure is neither executed well, nor particularly revelatory of any major surprises - it goes pretty much where you expect it to - and necessitated that long sections of the book were written in substandard prose to carry out the conceit. I cared not a whit for ANY of the characters, and the subsidiary ones who disappeared all too soon were far more interesting than any of the major players. I'd have loved to hear more of 'tieless man in suit'.
I can't say I'm disappointed as I didn't have many expectations for this, but so far the Booker judges have been extraordinarily derelict this year.
May 9, 2023
I was bored by the beginning of this book. The family and business history of a fictional tycoon just didn’t grab me. But I’m glad that I hung on to the end. I think I might change the title of the book to “Truth”, because there are so many different versions of the truth here. This is a structurally tricky novel, with a book within a book, a fictional family and a “real” family and a final section that strips away whatever conclusions you have already drawn. It won’t appeal to everyone, but by the end I thought it was amazing. Unfortunately, I had to go through the boring part to get there. 4.5 stars
May 9, 2023
Now Winner of Pulitzer Prize in Fiction 2023. Congratulations.
Now longlisted for Booker Prize 2022
This wants to be the Citizen Kane of books and it was pretty close to achieving it. Thematically, it was a success in seeding the doubt in that old story about how a gifted man got to build his empire.
Unfortunately, its structure ( 4 parts written in different genres) remains more of a marketing tool to promote its ambitions. I think the start ( the novel "Bonds") remains the strongest part. Hernan Diaz writes about the upper class like a modern Henry James, but his narrative is more alert and brutal. The subsequent parts want to answer how much of that fiction was real and look at the schemes that people with power have to build and impose their versions of events.
By the time we get to find out the truth, I don't think that it matters as strongly as Hernan Diaz thinks. The power of fiction is stronger than the truth here.
In Hernan Diaz words :"Reality is a fiction with an unlimited budget." Maybe Trust was too ambitious, maybe it does exactly what is supposed to do. The hype is real. For now, for me, Trust is the best book published this year.
Now longlisted for Booker Prize 2022
This wants to be the Citizen Kane of books and it was pretty close to achieving it. Thematically, it was a success in seeding the doubt in that old story about how a gifted man got to build his empire.
Unfortunately, its structure ( 4 parts written in different genres) remains more of a marketing tool to promote its ambitions. I think the start ( the novel "Bonds") remains the strongest part. Hernan Diaz writes about the upper class like a modern Henry James, but his narrative is more alert and brutal. The subsequent parts want to answer how much of that fiction was real and look at the schemes that people with power have to build and impose their versions of events.
By the time we get to find out the truth, I don't think that it matters as strongly as Hernan Diaz thinks. The power of fiction is stronger than the truth here.
In Hernan Diaz words :"Reality is a fiction with an unlimited budget." Maybe Trust was too ambitious, maybe it does exactly what is supposed to do. The hype is real. For now, for me, Trust is the best book published this year.
July 25, 2022
Was für ein Buch! 412 Seiten, die ich nicht mehr so schnell vergessen werde. Ein Buch, das ich nach 100 Seiten schon abbrechen wollte.
Worum gehts?:
1. Kapitel:
Ein Paar mit einer verstrickten Geschichte. Er, Benjamin Rusk, Geschäftsmann. Sie, Helene, seine Frau. Er handelt an der Börse und wird steinreich. Sie erkrankt plötzlich und wird zur Heilung in ein Sanatorium in der Schweiz gebracht.
2. Kapitel
Ein Paar mit einer verstrickten Geschichte. Er, Andrew Bevel, Geschäftsmann. Sie, Mildred, seine Frau. Er handelt an der Börse und steht an der Spitze eines Finanzimperiums. Sie erkrankt plötzlich ...
Mein Interesse wurde geweckt, meine Verwirrung stieg. Wohin sollte mich dieser Roman führen?
3. Kapitel:
Als Leser begleiten wir eine junge Frau mit Namen Ida Partenza, die eine Stelle als Stenographin bei einem reichen Geschäftsmann erhält ...
Und langsam fiel der Groschen bei mir. Ich verspreche euch, dass es nicht so ist, wie es für den Leser im ersten Augenblick scheint. Definitiv war von mir ein lautes „Aha“ zu hören.
Das vierte Kapitel habe ich einfach nur verschlungen und ließ mich staunend zurück.
Wer sich auf ein Buch einlassen möchte, das anders und eigen ist, ist hier definitiv an der richtigen Stelle. Als Leser wird man tatsächlich auf das Glatteis geführt. Es geht um Finanzen, dem Patriarch und dem FrauenBild der 1920er Jahren in der Gesellschaft. Zum Glück habe ich es nicht abgebrochen, denn die Seiten haben sich alle gelohnt.
Von mir gibt es daher eine absolute Leseempfehlung.
Worum gehts?:
1. Kapitel:
Ein Paar mit einer verstrickten Geschichte. Er, Benjamin Rusk, Geschäftsmann. Sie, Helene, seine Frau. Er handelt an der Börse und wird steinreich. Sie erkrankt plötzlich und wird zur Heilung in ein Sanatorium in der Schweiz gebracht.
2. Kapitel
Ein Paar mit einer verstrickten Geschichte. Er, Andrew Bevel, Geschäftsmann. Sie, Mildred, seine Frau. Er handelt an der Börse und steht an der Spitze eines Finanzimperiums. Sie erkrankt plötzlich ...
Mein Interesse wurde geweckt, meine Verwirrung stieg. Wohin sollte mich dieser Roman führen?
3. Kapitel:
Als Leser begleiten wir eine junge Frau mit Namen Ida Partenza, die eine Stelle als Stenographin bei einem reichen Geschäftsmann erhält ...
Und langsam fiel der Groschen bei mir. Ich verspreche euch, dass es nicht so ist, wie es für den Leser im ersten Augenblick scheint. Definitiv war von mir ein lautes „Aha“ zu hören.
Das vierte Kapitel habe ich einfach nur verschlungen und ließ mich staunend zurück.
Wer sich auf ein Buch einlassen möchte, das anders und eigen ist, ist hier definitiv an der richtigen Stelle. Als Leser wird man tatsächlich auf das Glatteis geführt. Es geht um Finanzen, dem Patriarch und dem FrauenBild der 1920er Jahren in der Gesellschaft. Zum Glück habe ich es nicht abgebrochen, denn die Seiten haben sich alle gelohnt.
Von mir gibt es daher eine absolute Leseempfehlung.
June 29, 2022
3.5
New release for tomorrow, May 3rd, in the US
A smart twist on story and narrative, conceptually similar to Trust Exercise, by Susan Choi, but focused on a very different slice of society - wealthy NYC. Fun and well-written, but with cold characters. I could’ve used a bit more emotion to engage me. But the author’s playful use of manipulation makes this reading experience a work of art.
Thank you to Riverhead Books and The Strand for the advanced copy.
New release for tomorrow, May 3rd, in the US
A smart twist on story and narrative, conceptually similar to Trust Exercise, by Susan Choi, but focused on a very different slice of society - wealthy NYC. Fun and well-written, but with cold characters. I could’ve used a bit more emotion to engage me. But the author’s playful use of manipulation makes this reading experience a work of art.
Thank you to Riverhead Books and The Strand for the advanced copy.
May 23, 2023
Trust was the latest historical fiction novel by Hernan Diaz following his debut novel, In the Distance, a Pulitzer Prize finalist in 2017. Trust was longlisted for The Booker Prize 2022. In this book, Hernan Diaz focuses on wealthy New Yorkers in much the same way as done by Edith Wharton and F. Scott Fitzgerald. An interesting aspect, the reasons becoming clearer as the book progresses, is that the book contains four distinct sections, the first being a novel written by fictitious author Harold Vanner and entitled Bonds. This novella within the book narrates the story of wealth in New York at the time of the Great Depression. As one becomes immersed in the lives of Benjamin and Helen Rask, a wealthy bonds trader and tycoon on Wall Street and his beautiful wife very involved with her philanthropic endeavors in the arts and music and the library. But a scandal arises as Benjamin Rask is accused of manipulating the market in such a way that the Rasks emerged from the crash of 1929 largely unscathed. And questions abound, how did he know? what kinds of manipulations were employed? was there a formula? did he cause the stock market to crash by selling short?
But we are just beginning as we embrace the second part of Trust, a memoir by Andrew Bevel, the man depicted in the fictional Bonds as Benjamin Rask. This memoir, much of it just notes as to thoughts and ideas gives us another glimpse into the notorious bonds trader Andrew Bevel and his beautiful wife, Mildred. Bevel is determined to set the record straight after the libelous book Bonds was published. As much more information is fed into the mix, one begins to question previous beliefs as we formulate new questions and new areas of inquiry. And the plot thickens.
But at the heart of this novel, is the third part, a memoir by Ida Partenza, the immigrant daughter of an Italian anarchist, a printer and typesetter, putting his skills to good use in America. She tells the story as a woman in her seventies of her life and eventual employment as a young woman as private secretary to Andrew Bevel. This narrative is riveting as we see the view from the top floors in Manhattan through her eyes. But the final section is the narrative by Mildred Bevel, Futures, and that puts this chaos all in order.
But we are just beginning as we embrace the second part of Trust, a memoir by Andrew Bevel, the man depicted in the fictional Bonds as Benjamin Rask. This memoir, much of it just notes as to thoughts and ideas gives us another glimpse into the notorious bonds trader Andrew Bevel and his beautiful wife, Mildred. Bevel is determined to set the record straight after the libelous book Bonds was published. As much more information is fed into the mix, one begins to question previous beliefs as we formulate new questions and new areas of inquiry. And the plot thickens.
But at the heart of this novel, is the third part, a memoir by Ida Partenza, the immigrant daughter of an Italian anarchist, a printer and typesetter, putting his skills to good use in America. She tells the story as a woman in her seventies of her life and eventual employment as a young woman as private secretary to Andrew Bevel. This narrative is riveting as we see the view from the top floors in Manhattan through her eyes. But the final section is the narrative by Mildred Bevel, Futures, and that puts this chaos all in order.
"Chaos is a vortex that spins faster with each thing it swallows.'
July 23, 2022
Monopoly
Un autore da continuare a seguire, questo Hernán Díaz (nato in Argentina e cresciuto in Svezia, ma adesso che vive a Brooklyn, insegna, pensa e scrive in inglese, Hernan Diaz senza accenti)
Dopo Il falco (che mi aveva convinta solo in parte e delusa per la rimanente), un’opera più ambiziosa e riuscita: verrebbe da pensare a una partitura (se solo ne sapessi un po’ di più di musica classica), suggestionati dalle quattro parti e dalle quattro voci che compongono il romanzo: una voce classica e ottocentesca - á la Henry James, che ha fatto sussultare il mio animo di lettrice - una sperimentale, ma solo in parte, quando mette sulla pagina gli appunti e lo schema di qualcosa che dovrà essere (o è già stato) scritto, un’altra novecentesca, la terza parte, quando racconta la New York della prima metà del Novecento, divisa fra Wall Street e i movimenti anarchici dì Brooklyn (il cuore del romanzo, dove si incastrano i diversi registri e dove si cominciano a riunire i tasselli) e, infine, un’ultima diaristica, in cui i pensieri e gli appunti rimandano al flusso di coscienza di Virginia Woolf (evocata nelle pagine stesse del diario), in cui i polmoni si allargano, il corpo si ferma, la mente sembra trovare un nuovo spazio e una nuova forma.
Metaletteratura, sì, ma anche un romanzo che rischia di diventare un nuovo classico.
Da evitare assolutamente di leggere la quarta di copertina, che anticipa fatti (e di fatto svela troppo del perché e della struttura del romanzo) che non hanno motivo di essere svelati se non scoprendoli nel momento stesso in cui l’autore decide di rivelarceli.
Sintetizzando: New York, anni Cinquanta, storia di un finanziere dei primi anni Trenta del Novecento e di sua moglie, una storia, soprattutto di soldi, ma anche, soprattutto (e quindi fifty-fifty) di relazioni: ma la storia che leggeremo, è proprio la vera storia? D’altra parte Il titolo stesso, Trust, ha diversi significati: ci si può fidare della verità?
[edit] aggiungo il link di un'intervista in cui Hernan Diaz presenta "Trust" - con la traduttrice Ada Arduini.
https://youtu.be/zj7wjw4o-qA
Un autore da continuare a seguire, questo Hernán Díaz (nato in Argentina e cresciuto in Svezia, ma adesso che vive a Brooklyn, insegna, pensa e scrive in inglese, Hernan Diaz senza accenti)
Dopo Il falco (che mi aveva convinta solo in parte e delusa per la rimanente), un’opera più ambiziosa e riuscita: verrebbe da pensare a una partitura (se solo ne sapessi un po’ di più di musica classica), suggestionati dalle quattro parti e dalle quattro voci che compongono il romanzo: una voce classica e ottocentesca - á la Henry James, che ha fatto sussultare il mio animo di lettrice - una sperimentale, ma solo in parte, quando mette sulla pagina gli appunti e lo schema di qualcosa che dovrà essere (o è già stato) scritto, un’altra novecentesca, la terza parte, quando racconta la New York della prima metà del Novecento, divisa fra Wall Street e i movimenti anarchici dì Brooklyn (il cuore del romanzo, dove si incastrano i diversi registri e dove si cominciano a riunire i tasselli) e, infine, un’ultima diaristica, in cui i pensieri e gli appunti rimandano al flusso di coscienza di Virginia Woolf (evocata nelle pagine stesse del diario), in cui i polmoni si allargano, il corpo si ferma, la mente sembra trovare un nuovo spazio e una nuova forma.
Metaletteratura, sì, ma anche un romanzo che rischia di diventare un nuovo classico.
Da evitare assolutamente di leggere la quarta di copertina, che anticipa fatti (e di fatto svela troppo del perché e della struttura del romanzo) che non hanno motivo di essere svelati se non scoprendoli nel momento stesso in cui l’autore decide di rivelarceli.
Sintetizzando: New York, anni Cinquanta, storia di un finanziere dei primi anni Trenta del Novecento e di sua moglie, una storia, soprattutto di soldi, ma anche, soprattutto (e quindi fifty-fifty) di relazioni: ma la storia che leggeremo, è proprio la vera storia? D’altra parte Il titolo stesso, Trust, ha diversi significati: ci si può fidare della verità?
[edit] aggiungo il link di un'intervista in cui Hernan Diaz presenta "Trust" - con la traduttrice Ada Arduini.
https://youtu.be/zj7wjw4o-qA
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