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Freedom (Oprah's Book Club)
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About the Author

Jonathan Franzen is the author of "The Corrections," winner of the National Book Award and a finalist for the Pulitzer Prize and the Pen/Faulkner. He is also the author of the novels "The Twenty-Seventh City" and "Strong Motion," and two works of nonfiction, "How to Be Alone" and "The Discomfort Zone," all published by Farrar, Straus and Giroux. In 1996, he was named one of Granta's Best of Young American Novelists. He lives in New York City and Santa Cruz, California.

Reviews

When Patty and Walter Berglund's teenage son moves in with their conservative neighbors and their perfect life in St. Paul begins to unravel, out spill family secrets-clandestine loves, lies, compromises, failures. David Ledoux's masterly narration is powerful and well paced, comic and poignant. He expertly captures Walter and Patty-with her anxious whinny of a laugh-and their family life with its satisfactions and histrionics. Ledoux also deftly renders the gossiping of the Berglund's disingenuous neighbors; the frenetic rants of the drug-addled Eliza; and the weary, disaffected drawl of sleazy musician Richard. A Farrar, Straus, and Giroux hardcover (Reviews, July 5). (Sept.) (c) Copyright PWxyz, LLC. All rights reserved.

Praise for "Freedom""Jonathan Franzen's new novel, "Freedom," like his previous one, "The Corrections," is a masterpiece of American fiction . . . "Freedom" is a still richer and deeper work-less glittering on its surface but more confident in its method . . . Like all great novels, "Freedom" does not just tell an engrossing story. It illuminates, through the steady radiance of its author's profound moral intelligence, the world we thought we knew."-Sam Tanenhaus, "The New York Times Book Review" (cover review) "Writing in prose that is at once visceral and lapidary, Mr. Franzen shows us how his characters strive to navigate a world of technological gadgetry and ever-shifting mores, how they struggle to balance the equation between their expectations of life and dull reality, their political ideals and mercenary personal urges. He proves himself as adept at adolescent comedy as he is at grown-up tragedy; as skilled at holding a mirror t


Praise for "Freedom""Jonathan Franzen's new novel, "Freedom," like his previous one, "The Corrections," is a masterpiece of American fiction . . . "Freedom" is a still richer and deeper work--less glittering on its surface but more confident in its method . . . Like all great novels, "Freedom" does not just tell an engrossing story. It illuminates, through the steady radiance of its author's profound moral intelligence, the world we thought we knew."--Sam Tanenhaus, "The New York Times Book Review" (cover review) "Writing in prose that is at once visceral and lapidary, Mr. Franzen shows us how his characters strive to navigate a world of technological gadgetry and ever-shifting mores, how they struggle to balance the equation between their expectations of life and dull reality, their political ideals and mercenary personal urges. He proves himself as adept at adolescent comedy as he is at grown-up tragedy; as skilled at holding a mirror to the world his people inhabit day by dreary day as he is at limning their messy inner lives . . . Mr. Franzen has written his most deeply felt novel yet--a novel that turns out to be both a compelling biography of a dysfunctional family and an indelible portrait of our times." --Michiko Kakutani, "The New York Times" "["Freedom "is] a work of total genius: a reminder both of why everyone got so excited about Franzen in the first place and of the undeniable magic--even today, in our digital end-times--of the old-timey literary novel . . . Few modern novelists rival Franzen in that primal skill of creating life, of tricking us into believing that a text-generated set of neural patterns, a purely abstract mind-event, is in fact a tangible human being that we can love, pity, hate, admire, and possibly even run into someday at the grocery store. His characters are so densely rendered--their mental lives sketched right down to the smallest cognitive micrograins--that they manage to bust through the art-reality threshold: They hit us i

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