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David Lipsky : The Art Fair: A Novel before purchasing it in order to gage whether or not it would be worth my time, and all praised The Art Fair: A Novel:

5 of 5 people found the following review helpful. And good old Mom for allowing it all to happenBy Denise CordovaAm I the only one creeped out by this Oedipal-ish, almost incestuous-ish relationship??? Richard has HUGE boundary issues and Mom is an enabler. They both sickened me. Richard for controlling his mother to the point of advising her on who to talk with at art shows, to drooling over certain outfits Mom wore (wtf) and having sexual fantasies about her (seriously: wtf). And good old Mom for allowing it all to happen.Lipsky is a very good writer though. His prose kept me reading to the end about this grossly dysfunctional half family. ugh0 of 0 people found the following review helpful. Taste is a funny thing...By G.S.I shouldn't call it brilliant, any more than another reviewer should have called it a bore. What I can say is that Lipsky writes beautiful sentences, and has rare insight on the art world. If neither of those appeals to you, yup, you should take a pass...1 of 2 people found the following review helpful. A Very good read!By Tunergalthe only negative I can think of about The Art Fair is that it starts very slowly - I nearly laid it aside. If I had, I would have missed out on one of the best books I have read lately. Once I got into it, I was charmed by the dedication of the mother and son to each other, especially on the part of the son, who showed absolute dedication to his mother and her career. It would seem that he simply put aside any concern for his own social life, and became her very dedicated "walker" and agent. . This is a very good read - I recommend it highly.

A poignant and painfully funny novel about the art world by the acclaimed author of Although of Course You End Up Becoming YourselfFor two first-class years, Joan Freeley had it all: the perfect family, the best art dealer in Manhattan, and the admiration of famous friends. Her adoring husband and two handsome sons attended her first gallery show in matching khakis and blue blazers. “An Interesting Talent Makes Its Debut,” declared . Then, as if her success were nothing more than a booking error, Joan’s life got downgraded. A brutal divorce led to paintings too bitter to sell and a career stuck firmly in coach. Unable to see her suffer alone any longer, Joan’s teenage son Richard leaves his father and older brother in Los Angeles and moves in to her one-bedroom apartment in SoHo. At the gallery openings where she used to be a star, Richard discovers just how much his mother’s light has dimmed. She is an artist who is not showing—she might as well be invisible. To acknowledge her is to acknowledge the thin line between success and failure in a world as superficial as it is intoxicating. Richard immediately devotes himself to returning his mother to her former glory. Everything about him—the clothes he wears, the jokes he makes, the college he attends—is calculated to boost Joan’s reputation. But as the years go by and the galleries keep sending back her slides, Richard has to ask: Who wants Joan Freeley’s resurrection more—him or her? And when will his own life start? From Publishers WeeklyThe author of a short-story collection (Three Thousand Dollars) and a sociology of Generation X (Late Bloomers), Lipsky here weighs in with a tender but slight first novel narrated by a Manhattan teenager suffering from an overweening attachment to his mother. In a voice that is by turns keenly perceptive and mawkishly earnest, Richard Freely recalls his preadolescence in New York, when his mother, Joan, who has since struggled as an abstract painter, was for a brief spell the darling of the snooty 1970s art scene. After a bitter divorce, which sent Richard and his brother to L.A. to live with their father, her social and professional status faded. Blaming himself, Richard resolves to move into her one-bedroom apartment in SoHo and help jump-start her career, playing both her son and confidante and accompanying her to openings, where she is often ostracized. He "finally breaks up with [his] mother" at an artists' retreat in upstate New York, where Joan succeeds at winning back her old dealer, while Richard's own reconciliation with an estranged girlfriend allows him to acknowledge his disabling maternal attachment. The art-world background is drawn in broad, crayon-like strokes: it's a circus of fine cheese and wine, catty, social-climbing artists and arrogant critics and dealers who talk less of aesthetics than of fashion and status. But readers may appreciate Lipsky's understated style, both wide-eyed and satirical, with amusing ironic asides ("it seemed I lived on Brie, and even now, when I eat that cool, slimy food, something is triggered, and I look around for fear that I'm being judged ungenerously."). Copyright 1996 Reed Business Information, Inc.From BooklistCritics loved Lipsky's short story collection Three Thousand Dollars, and as soon as you read the hilarious opening of his debut novel, an anatomy of a tricky mother-and-son relationship, you'll agree that Lipsky has a gift for bringing scenes of shimmering complexity to life. Richard Freeley's parents get divorced just after his mother makes it big as an artist. After spending most of his childhood shuttling back and forth between his father in California and his mother in New York, Richard chooses to stay with Mom. Unfortunately, her celebrity status fades quickly, and soon she is adrift in the shoals of Manhattan's sharky art world. Richard becomes a surrogate husband, as it were, accompanying her to openings, learning how to schmooze, and helping her strategize meetings with dealers, collectors, and critics. Their intense, knotty, and problematic partnership continues even after Richard goes away to college, until it becomes glaringly obvious that they both need to break free. The combination of Lipsky's unfailing psychological acumen and Seinfeld-like sensibility (minus the slapstick) makes for a distinctive and thoroughly enjoyable literary experience. Donna SeamanFrom Kirkus sSelf-described Gen-X writer Lipsky (a story collection, Three Thousand Dollars, 1989, and the memoir Late Bloomers, 1994) helps define a genre pioneered by Harold Brodkey and perfected by contemporaries David Leavitt and Michael Chabon--the tale of the disappointed Jewish prince: an upper-middle-class whiner who feels cheated by life's difficulties and continues to exert a puerile omnipotence over all those around him. Lipsky's Oedipal tale of the contemporary art world, set in the 1970s and '80s, begins in familial dysfunction and plays itself out in obsession and creepiness. Promoted as a roman … clef, most readers will fail to see the real-life parallels without a scorecard, but that's typical of Lipsky's inflated sense of the entire scene. Richard Freeley, the protective, slightly screwed-up child of a bitter divorce, decides to leave his father and evil shiksa stepmother in California to join his mother, a would-be painter, in Manhattan, where she struggles in a one-bedroom apartment. Nostalgic for ``the boy who'd been enjoying a first- class life,'' Richard suffers with each rejection or snub his mother endures at gallery openings or social events. Dishing on all the petty, competitive, art-world denizens, little Richard eventually worms his way into Brown, but can't give up his role as his mother's manager/protector/escort. Of his first romance, he muses: ``She loved the art world in me. . . . I loved the Westport in her.'' But when he must choose between this ``rich and pretty'' girl and his mother (no easy thing, in his mind), he abandons the WASP goddess to escort his mother through the major event of the title, an art fair in which he displays no little condescension to the unknown artists. The only thing missing from this weird account of art world shenanigans is any sense of the art itself--a pretty significant gap, to be sure. -- Copyright ©1996, Kirkus Associates, LP. All rights reserved.

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