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3 Beaverton Literature- A to Z

Netherland

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Netherland Cover

ISBN13: 9780307377043
ISBN10: 0307377040
Condition: Standard
Dustjacket: Standard
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Excerpt

The afternoon before i left London for New York—Rachel had flown out six weeks previously—I was in my cubicle at work, boxing up my possessions, when a senior vice-president at the bank, an Englishman in his fifties, came to wish me well. I was surprised; he worked in another part of the building and in another department, and we were known to each other only by sight. Nevertheless, he asked me in detail about where I intended to live (“Watts? Which block on Watts?”) and reminisced for several minutes about his loft on Wooster Street and his outings to the “original” Dean & DeLuca. He was doing nothing to hide his envy.

“We wont be gone for very long,” I said, playing down my good fortune. That was, in fact, the plan, conceived by my wife: to drop in on New York City for a year or three and then come back.

“You say that now,” he said. “But New Yorks a very hard place to leave. And once you do leave . . .” The S.V.P., smiling, said, “I still miss it, and I left twelve years ago.”

It was my turn to smile—in part out of embarrassment, because hed spoken with an American openness. “Well, well see,” I said.

“Yes,” he said. “You will.”

His sureness irritated me, though principally he was pitiable—like one of those Petersburgians of yesteryear whose duties have washed him up on the wrong side of the Urals.

But it turns out he was right, in a way. Now that I, too, have left that city, I find it hard to rid myself of the feeling that life carries a taint of aftermath. This last-mentioned word, somebody once told me, refers literally to a second mowing of grass in the same season. You might say, if youre the type prone to general observations, that New York City insists on memorys repetitive mower—on the sort of purposeful postmortem that has the effect, so one is told and forlornly hopes, of cutting the grassy past to manageable proportions. For it keeps growing back, of course. None of this means that I wish I were back there now; and naturally Id like to believe that my own retrospection is in some way more important than the old S.V.P.s, which, when I was exposed to it, seemed to amount to not much more than a cheap longing. But theres no such thing as a cheap longing, Im tempted to conclude these days, not even if youre sobbing over a cracked fingernail. Who knows what happened to that fellow over there? Who knows what lay behind his story about shopping for balsamic vinegar? He made it sound like an elixir, the poor bastard.

At any rate, for the first two years or so of my return to England, I did my best to look away from New York—where, after all, Id been unhappy for the first time in my life. I didnt go back there in person, and I didnt wonder very often about what had become of a man named Chuck Ramkissoon, whod been a friend during my final East Coast summer and had since, in the way of these things, become a transitory figure. Then, one evening in the spring of this year, 2006, Rachel and I are at home, in Highbury. She is absorbed by a story in the newspaper. I have already read it. It concerns a group of tribespeople that has emerged from the Amazon forest in Colombia. They are reportedly tired of the hard jungle life, although its noted they still like nothing better than to eat monkey, grilled and then boiled. A disturbing photograph of a boy gnawing at a blackened little skull illustrates this fact. The tribespeople have no idea of the existence of a host country named Colombia, and no idea, more hazardously, of diseases like the common cold or influenza, against which they have no natural defenses.

“Hello,” Rachel says, “your tribe has come to light.”

Im still smiling when I answer the ringing phone. A New York Times reporter asks for Mr. van den Broek.

The reporter says, “This is about Kham, ah, Khamraj Ramkissoon . . . ?”

“Chuck,” I say, sitting down at the kitchen table. “Its Chuck Ramkissoon.”

She tells me that Chucks “remains” have been found in the Gowanus Canal. There were handcuffs around his wrists and evidently he was the victim of a murder.

I dont say anything. It seems to me this woman has told an obvious lie and that if I think about it long enough a rebuttal will come to me.

Her voice says, “Did you know him well?” When I dont answer, she says, “It says somewhere you were his business partner.”

“Thats not accurate,” I say.

“But you were in business together, right? Thats what my note says.”

“No,” I say. “Youve been misinformed. He was just a friend.”

She says, “Oh—OK.” There is a tapping of a keyboard and a hiatus.

“So—is there anything you can tell me about his milieu?”

“His milieu?” I say, startled into correcting her mooing pronunciation.

“Well, you know—who he hung out with, what kind of trouble he might have gotten himself into, any shady characters . . .” She adds with a faint laugh, “It is kind of unusual, what happened.”

I realize that Im upset, even angry.

“Yes,” I finally say. “You have quite a story on your hands.”

The next day a small piece runs in the Metro section. It has been established that Chuck Ramkissoons body lay in the water by the Home Depot building for over two years, among crabs and car tires and shopping carts, until a so-called urban diver made a “macabre discovery” while filming a school of striped bass. Over the next week there is a trickle of follow-up items, none of them informative. But apparently it is interesting to readers, and reassuring to certain traditionalists, that the Gowanus Canal can still turn up a murder victim. Theres death in the old girl yet, as one commentator wittily puts it.

The night we receive the news, Rachel, in bed next to me, asks, “So whos this man?” When I dont immediately answer, she puts down her book.

“Oh,” I say, “Im sure Ive told you about him. A cricket guy I used to know. A guy from Brooklyn.”

She repeats after me, “Chuck Ramkissoon?”

Her voice contains an amused note I dont like. I roll away onto one shoulder and close my eyes. “Yes,” I say. “Chuck Ramkissoon.”

Chuck and I met for the first time in August 2002. I was playing cricket at Randolph Walker Park, in Staten Island, and Chuck was present as one of the two independent umpires who gave their services in return for a fifty-dollar honorarium. The day was thick as a jelly, with a hot, glassy atmosphere and no wind, not even a breeze from the Kill of Kull, which flows less than two hundred yards from Walker Park and separates Staten Island from New Jersey. Far away, in the south, was the mumbling of thunder. It was the kind of barbarously sticky American afternoon that made me yearn for the shadows cast by scooting summer clouds in northern Europe, yearn even for those days when you play cricket wearing two sweaters under a cold sky patched here and there by a blue tatter—enough to make a sailors pants, as my mother used to say.

By the standards I brought to it, Walker Park was a very poor place for cricket. The playing area was, and I am sure still is, half the size of a regulation cricket field. The outfield is uneven and always overgrown, even when cut (once, chasing a ball, I nearly tripped over a hidden and, to cricketers, ominous duck), and whereas proper cricket, as some might call it, is played on a grass wicket, the pitch at Walker Park is made of clay, not turf, and must be covered with coconut matting; moreover the clay is pale sandy baseball clay, not red cricket clay, and its bounce cannot be counted on to stay true for long; and to the extent that it is true, it lacks variety and complexity. (Wickets consisting of earth and grass are rich with possibility: only they can fully challenge and reward a bowlers repertoire of cutters and spinners and bouncers and seamers, and only these, in turn, can bring out and fully test a batsmans repertoire of defensive and attacking strokes, not to mention his mental powers.) There is another problem. Large trees—pin oaks, red oaks, sweetgums, and American linden trees—clutter the fringes of Walker Park. Any part of these trees, even the smallest hanging leaf, must be treated as part of the boundary, and this brings randomness into the game. Often a ball will roll between the tree trunks, and the fielder running after it will partially disappear, so that when he reemerges, ball in hand, a shouting match will start up about exactly what happened.

By local standards, however, Walker Park is an attractive venue. Tennis courts said to be the oldest in the United States neighbor the cricket field, and the park itself is surrounded on all sides by Victorian houses with elaborately planted gardens. For as long as anyone can remember, the local residents have tolerated the occasional crash of a cricket ball, arriving like a gigantic meteoritic cranberry, into their flowering shrubbery. Staten Island Cricket Club was founded in 1872, and its teams have played on this little green every summer for over a hundred years. Walker Park was owned by the club until the 1920s. Nowadays the land and its clubhouse—a neo-Tudor brick structure dating back to the 1930s, its precursor having been destroyed by fire—are the property of the New York City Department of Parks and Recreation. In my time, a parks department employee, a phantom-like individual who was never seen, reportedly lived in the attic. The main room was rented out to a nursery school, and only the basement and the beaten-up locker room were routinely made available to cricketers. Nevertheless, no other New York cricket club enjoys such amenities or such a glorious history: Donald Bradman and Garry Sobers, the greatest cricketers of all time, have played at Walker Park. The old ground is also fortunate in its tranquillity. Other cricketing venues, places such as Idlewild Park and Marine Park and Monroe Cohen Ballfield, lie directly beneath the skyways to JFK. Elsewhere, for example Seaview Park (which of course has no view of a sea), in Canarsie, the setting is marred not only by screeching aircraft but also by the inexhaustible roar of the Belt Parkway, the loop of asphalt that separates much of south Brooklyn from salt water.

What all these recreational areas have in common are rank outfields that largely undermine the art of batting, which is directed at hitting the ball along the ground with that elegant variety of strokes a skillful batsman will have spent years trying to master and preserve: the glance, the hook, the cut, the sweep, the cover drive, the pull, and all those other offspring of technique conceived to send the cricket ball rolling and rolling, as if by magic, to the far-off edge of the playing field. Play such orthodox shots in New York and the ball will more than likely halt in the tangled, weedy ground cover: grass as I understand it, a fragrant plant wondrously suited for athletic pastimes, flourishes with difficulty; and if something green and grasslike does grow, it is never cut down as cricket requires. Consequently, in breach of the first rule of batting, the batsman is forced to smash the ball into the air—to go deep, as its said, borrowing the baseball term; and batting is turned into a gamble. As a result, fielding is distorted, too, since the fielders are quickly removed from their infield positions—point, extra cover, midwicket, and the others—to distant stations on the boundary, where they listlessly linger. Its as if baseball were a game about home runs rather than base hits, and its basemen were relocated to spots deep in the outfield. This degenerate version of the sport—bush cricket, as Chuck more than once dismissed it—inflicts an injury that is aesthetic as much as anything: the American adaptation is devoid of the beauty of cricket played on a lawn of appropriate dimensions, where the white-clad ring of infielders, swanning figures on the vast oval, again and again converge in unison toward the batsman and again and again scatter back to their starting points, a repetition of pulmonary rhythm, as if the field breathed through its luminous visitors.

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Shannon Geiger, July 16, 2009 (view all comments by Shannon Geiger)
Joseph O'Neill uses lush language and knowledge of both New York and how people from other countries see it to create a beautiful story. The images he presents in this book stay with you long after you finish it. The comparisons to The Great Gatsby are warranted and accurate.
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Wendy Robards, April 8, 2009 (view all comments by Wendy Robards)
The protagonist of Joseph O’Neill’s latest novel is Hans, a wealthy banker living in the Chelsea Hotel in post-911 New York City. Rachel, Hans’ conflicted wife, abandons him to return to London with their child and leaves Hans to navigate his way through a city of immigrants, idealists, and whacky characters. It is not long before Hans discovers the little known, yet thriving culture of immigrant men who gather each week to bat and bowl their way through cricket games. One of these men is Chuck Ramkissoon - an immigrant from Trinidad who runs an illegal gambling operation, cheats on his wife with a scrapbooker, and dreams of creating The New York Cricket Club - a venture which he envisions making millions while introducing Americans to a ‘whole new chapter in U.S. history.'

Netherland explores the aftermath of 911 through the eyes of America’s immigrants who have come to America in pursuit of their dreams but find a country conflicted in the face of impending war with Iraq.

O’Neill uses Hans and Rachel’s marriage as a metaphor to explore fear, isolation, disaapointment and reconciliation as they separate and then come back together. Family and country are two intertwined themes as Hans tries to understand his own identity within the larger concept of community.

Although O’Neill’s writing is fluid and evokes a New York which most American’s will relate to, I found myself indifferent to Hans and his troubles. I liked the colorful and outgoing Chuck, but his ultimate fate left me thinking “so what?” I am not exactly sure why the character development left me cold in this novel - O’Neill certainly gives the reader plenty of background and insight into the two main characters - but, ultimately, I found them forgettable. There are also long passages about the game of cricket - a sport which I know next to nothing about - and these I found mostly boring.

At the end of the book, Hans is talking to a minor character who had considered funding Chuck’s idea for a cricket club in New York:

'“The New York Cricket Club,” Faruk says, raising his eyebrows, “was a splendid idea - a gymkhana in New York. We had a chance there. But would the big project have worked? No. There’s a limit to what Americans understand. The limit is cricket.”' - from Netherland, page 251 -

And this is pretty much how I felt about O’Neill’s novel. A good idea, but it did not work for me. Although this book has gotten some great reviews (including being recognized as a NYT Most Notable book in 2008), I wonder if many Americans will struggle as I did with a story which in large part centers around a sport which is not well-known in our country. Some readers might like this one.
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Product Details

ISBN:
9780307377043
Subtitle:
A Novel
Author:
O'Neill, Joseph
Publisher:
Pantheon
Subject:
Literary
Copyright:
Publication Date:
20080520
Binding:
Hardback
Grade Level:
General/trade
Language:
English
Pages:
272
Dimensions:
9.3 x 5.9 x 1.07 in 1 lb

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Netherland Used Hardcover
0 stars - 0 reviews
$4.50 In Stock
Product details 272 pages Pantheon Books - English 9780307377043 Reviews:
"Publishers Weekly Review" by , "Hans van den Broek, the Dutch-born narrator of O'Neill's dense, intelligent novel, observes of his friend, Chuck Ramkissoon, a self-mythologizing entrepreneur-gangster, that 'he never quite believed that people would sooner not have their understanding of the world blown up, even by Chuck Ramkissoon.' The image of one's understanding of the world being blown up is poignant — this is Hans's fate after 9/11. He and wife Rachel abandon their downtown loft, and, soon, Rachel leaves him behind at their temporary residence, the Chelsea Hotel, taking their son, Jake, back to London. Hans, an equities analyst, is at loose ends without Rachel, and in the two years he remains Rachel-less in New York City, he gets swept up by Chuck, a Trinidadian expatriate Hans meets at a cricket match. Chuck's dream is to build a cricket stadium in Brooklyn; in the meantime, he operates as a factotum for a Russian gangster. The unlikely (and doomed from the novel's outset) friendship rises and falls in tandem with Hans's marriage, which falls and then, gradually, rises again. O'Neill (This Is the Life) offers an outsider's view of New York bursting with wisdom, authenticity and a sobering jolt of realism." Publishers Weekly (Starred Review) (Copyright Reed Business Information, Inc.)
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