Then We Came to the End is about how we spend our days and too many of our nights. It is about being away from friends and family, about sharing a stretch of stained carpet with a group of strangers we call colleagues. It is about sitting all morning next to someone you deliberately cross the road to avoid at lunchtime.
Joshua Ferris' fabulous novel is the story of your life, and mine. It is the story of our times.
©2007 Joshua Ferris; (P)2008 Isis Publishing Ltd
"Outstanding...incisive, urgent, funny, and snappily written...The comedy debut of the year." (Sunday Times)
"It's a long time since I've read a novel so painfully funny, or so absurdly true." (Craig Brown, Mail on Sunday)
Very funny, intense and exhilarating...For the first time in fiction, it has truly captured the way we work." (The Times)
I liked the novel very much. It's alert - it doesn't seem to drag on for a single second; the "we" of the storyteller is managed with great art; it sketches great portraits of the characters, and each voice is distinct and accurate; and it's - to use a cliche - a great portrait of the times.
But the awesome thing about the novel is the narration. Ian Porter is unbelievable - I can't imagine reading the novel on paper now that I've heard his performance. He shapes each character, each situation so wonderfully that I don't think I will be able to enjoy another audiobook narration as much. Unless it's by him, of course.
"Bizarre and very clever"
When I started listening to this, I really didn't know what to make of it - was it supposed to be funny? There is a certain amount of wry humour, but it is interspersed with episodes that aren't comic at all. Too many characters are introduced in too short a time, and most of them are not well depicted; I lost track of who they were. They're all fairly unpleasant people, too. There is no plot as such, just a series of anecdotes and reminiscences. I was seriously thinking about giving up, and yet - and yet....as the Sunday Times reviewer said, it was strangely compelling.
I'm so glad I did persevere, because as I got used to the style and the characters, I actually found myself starting to care - just a little bit. I wondered where on earth it was all going to lead, because as I said, there is no plot - was it all just going to tail off? But there is a lovely little punchline, that neatly answered one of the questions that had been puzzling me all the way through: who exactly is the narrator?
Don't buy this if you want a straightforward story simply told. It's bizarre! And very clever.
"Witty, lively and wonderfully black humour"
I already own and read the book on first publication in hardback, but I loved it so much that I wanted it with me when travelling. Lordy, he really has worked in an agency, it shows, and he draws such fine portraits of his crazy workmates. I loved the sub-plot of the office furniture as it moves through the firm as one after the other the characters leave the building (though they don't leave the narrative). Endlessly funny and well observed, I'm on the third listening now.
I loved this book but I don't know why! I've never worked in an office environment but I can only imagine it would have an extra effect on you if you do. The humour is dark, not laugh out load but dry and you find yourself laughing at the absurdity of situations rather than any particular line. I'll stop writing as I really find it hard to describe! It's weird, interesting, funny, unusual and written in a unique style. Also I have to say the narrator is fantastic and captures everything perfectly (I assume this is down to good direction?).
I nearly didn't buy this book as, in the UK at least, it had attracted so many bad reviews. And then I thought, what the hell, why not? If nothing else, I'll learn something by it.
It quickly became clear, within a chapter or so, that this was a book of pure, unadulterated genius. It is clever, innovative, funny, touching and profound. But it is also a deeply literary novel. It is not meant to be an easy read. It is not 'office lit'. It deals with the big issues of life - death, loss, grieving and those large, thorny questions of identity. And it filters these through the context of work. What emerges is a masterpiece of understatement, a tour-de-force of oblique characterisation.
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