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When Speedboat burst on the scene in the late ’70s it was like nothing readers had encountered before. It seemed to disregard the rules of the novel, but it wore its unconventionality with ease. Reading it was a pleasure of a new, unexpected kind. Above all, there was its voice, ambivalent, curious, wry, the voice of Jen Fain, a journalist negotiating the fraught landscape of contemporary urban America. Party guests, taxi drivers, brownstone dwellers, professors, journalists, presidents, and debutantes fill these dispatches from the world as Jen finds it.
A touchstone over the years for writers as different as David Foster Wallace and Elizabeth Hardwick, Speedboat returns to enthrall a new generation of readers.
About the Author
Renata Adler was born in Milan and raised in Connecticut. She received a B.A. from Bryn Mawr, an M.A. from Harvard, a D.d’E.S. from the Sorbonne, a J.D. from Yale Law School, and an LL.D. (honorary) from Georgetown. Adler became a staff writer at The New Yorker in 1963 and, except for a year as the chief film critic of The New York Times, remained at The New Yorker for the next four decades. Her books include A Year in the Dark (1969); Toward a Radical Middle (1970); Reckless Disregard: Westmoreland v. CBS et al., Sharon v. Time (1986); Canaries in the Mineshaft (2001); Gone: The Last Days of The New Yorker (1999); Irreparable Harm: The U.S. Supreme Court and The Decision That Made George W. Bush President (2004); and the novels Speedboat (1976; winner of the Ernest Hemingway Award for Best First Novel) and Pitch Dark (1983).
Praise for Speedboat…
“Told by Jen Frain, a journalist, Speedboat is a fragmentary and frequently hilarious novel about what it was to be an urban American in the 1970s. Here we have a narrator whose “I” looks out, not in. Frain describes her friends and work so keenly that at times she is almost effaced from her own narrative. In the space opened up by this near absence, Adler achieves a prose that, despite the odd bum note, sounds disaffected and despondent and charismatic all at once. ‘There doesn’t seem to be a spirit of the times,’ says Frain. But in Adler we sense the very crystallisation of one.” —The Irish Times