Half a farce

Cover of Our Country Friend by Gary Shteyngart showing a car driving on a country road toward a giant wine glass

Our Country Friends by Gary Shteyngart

My rating: 2.5 of 5 stars

I’d been looking forward to reading Our Country Friends for a while. I’d heard a fascinating interview with Gary Shteyngart and read all the great reviews about this, one of the first novels about the pandemic. Unfortunately, it didn’t live up to my expectations.

Alexander Senderovsky, a writer originally from Russia, has established a “colony” in the Hudson Valley, with a main house and a series of bungalows, although he can barely afford to maintain them. As the pandemic begins, he invites friends and colleagues to come out to the estate to ride out what they assume will be a short wave before returning to life in New York City. This novel could have gone two ways from here: It could have been a serious novel addressing the societal ills that led us, despite being the best prepared country in the world to deal with a pandemic, to respond so poorly that we lost more people per capita to the virus than almost any other developed country. Or it could have been a satire, a country farce about wealthy, out of touch elites on the order of a P.G. Wodehouse novel. It tries to be both, but neither is fully successful.

On the serious side, most of the characters in the novel are either immigrants and/or minorities, and the novel touches on their difficult experiences fitting into American society. The anger and hatred of many Americans toward people they see as different is a constant threat in the novel. Money, fame, and the effects of our media environment are also touched upon. But none of these things are addressed in a particularly thoughtful or satisfying way. The fact that the novel was set up as a farce tends to undercut any serious intent. Characters are there to make sure that certain points are to be made and that the mechanisms of the plot are served, moved around like pieces on a board and not particularly believable as people. Although we get glimpses into their backgrounds, these serve more as superficial markers for what kind of people we’re supposed to see them as than aspects of fleshed-out characters that seem real. One of the characters is even named Dee Cameron (get it? as in The Decameron).

Some of the plot mechanisms also seemed more suited for a farce. For example, two characters test out an app created by another that makes people fall in love when they take a photo together. That absurd event powers much of the action. People hook up and change partners, and spend much of their time consuming costly food and drink and expounding on things with more authority than knowledge. They do absolutely horrible things to each other with little consequence. But despite some wicked authorial comments about people’s foibles, none of it came across as really funny to me.

The biggest problem I had reading this, though, was an extended sequence in which one character moved around in their memories, drastically bogging down the last act for pages. It read very clumsily, like a TV show trying to fill some time with a cheesy dream sequence.

All that said, the book does move along fairly quickly, and you want to know what happens at the end even if you don’t particularly care about any of the characters all that much. Shteyngart also throws out so many ideas about the current state of our society, it does get you thinking about them. But in the end, the biggest thing I thought about was how this could have been a much better book if it wasn’t such a confused fusion of forms.