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From Publishers Weekly
This penetratingly observed novel is less about the great man of its title than the women Oscar Feldman, fictional 20th-century New York figurative painter (and an infamous seducer of models as well as a neglectful father), leaned on and left behind: Abigail, his wife of more than four decades; Teddy, his mistress of nearly as many years; and Maxine, his sister, an abstract artist who has achieved her own lesser measure of fame. Five years after Feldman's death, as the women begin sketching their versions of him for a pair of admiring young biographers working on very different accounts of his life, long-buried resentments corrode their protectiveness, setting the stage for secrets to be spilled and bonds to be tested. Christensen (The Epicure's Lament) tells the story with striking compassion and grace, and her characters are fully alive and frankly sexual creatures. Distraction intrudes when real-world details are wrong (the A-train, for instance, doesn't run through the Bronx), and the novel's bookends—an obituary and a book review, both ostensibly from the New York Times—are less than convincing as artifacts. In all, however, this is an eloquent story posing questions to which there are no simple answers: what is love? what is family? what is art? (Aug.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From Booklist
In Christensen's cleverly structured fourth novel, she writes of New York's art world with high-voltage wit and a keen sense of the power of opposites. The "great man" is Oscar Feldman, a painter of voluptuous female nudes, and his most celebrated work, a diptych portraying a white woman and a black woman, serves as the novel's template. In the wake of his death, two biographers, one white and one black, stir up rancorous memories as they speak with the two very different loves of Oscar's life: his compliant wife, Abigail, mother of their autistic son, and his regal lover, Teddy, mother of their twin daughters. Oscar himself has a double, his sister, Maxine. She, too, loves women, but she is an abstract expressionist working primarily in black and white. As the biographers probe, Oscar's survivors overcome old resentments and forge new understandings through hilariously frank conversations, reawakened passions, and affirmations of truth and beauty. Christensen's arch and gratifying novel (think Margaret Drabble) pairs the ridiculous with the sublime, and reminds us that nothing human is simply black or white. Seaman, Donna
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