Engaging…wonderfully drawn. It’s worth noting that Christensen has somehow — again — created a captivatingly believable male narrator, although she can’t see 60 on the horizon, has not been married to a tempestuous Mexican woman for 30 years or published largely ignored poetry in academic journals. (Her previous novel, The Great Man, won the PEN/Faulkner Award.) And yet here she is doing what talented novelists do: creating a voice so rich with the peculiar timbre of lived experience that you feel as though she’s introduced you to a witty, deeply frustrated (and frustrating) new friend.
Ron Charles - Washington Post
Not once during The Astral did this reader ever feel like the narrative strayed from the vivid, first-person voice of Harry. Another pleasure of this novel is that Christensen manages to shape this itinerant narrative with unexpected tensions and tenderness. By the conclusion, Harry alters his ways, moving outside the familiar grooves of his old life and begins to chart new territory of employment and relationships. Taken altogether, this entertaining novel reads like an ode to Brooklyn and broken marriages, endings and beginnings, and the spaces in between.
S. Kirk Walsh - Boston Globe
[The] characters’ ruminations on how the forces of love and deception work in tandem within a relationship are both searing and concise... [Chistensen] is a forceful writer whose talent is all over the page. Her prose is visceral and poetic, like being bludgeoned with an exquisitely painted sledgehammer. She is a portrait artist, drawing in miniature, capturing the light within.
Janelle Brown - San Francisco Chronicle
Ah, urban beauty: Christensen gets what’s funny about it, and also what’s disappointing. [Christensen’s] a mischievous writer with a keen eye and ear for comedy, one who sets up precarious scenarios and then lets her characters hash things out.
New York Observer
(Starred review.) Like the rapidly gentrifying Brooklyn of its setting, Christensen's unremittingly wonderful latest (after Trouble) is populated by an odd but captivating mix of characters. At the center is Harry Quirk, a middle-aged poet whose comfortable life is upended one winter day when his wife, Luz, convinced he's having an affair, destroys his notebooks, throws his laptop from the window, and kicks him out. Things, Harry has to admit, are not going well: their idealistic Dumpster-diving daughter, Karina, is lonely and lovelorn, and their son, Hector, is in the grip of a messianic cult. Taking in a much-changed Greenpoint, Brooklyn, while working at a lumberyard and hoping to recover his poetic spark, Harry must come to terms with the demands of starting anew at 57. Astute and unsentimental, at once romantic and wholly rational, Harry is an everyman adrift in a changing world, and as he surveys his failings, Christensen takes a singular, genuine story and blows it up into a smart inquiry into the nature of love and the commitments we make, the promises we do and do not honor, and the people we become as we negotiate the treacherous parameters of marriage and friendship and parenthood.
The Astral, a big, rose-hued apartment building in Brooklyn, NY, has long been home to poet Harry Quirk and his family. But Harry's wife, Luz, has discovered poems that seem to confirm her suspicions of infidelity, and she's tossed him out. Harry, sensing that he's failed as a poet, husband, and father (son Hector is trapped in a crazy Christian cult), decides to straighten out. This latest from Christensen arrives with some promise, as her recent The Great Man won a PEN Faulkner Award. This could be a real charmer; watch.
Christensen perfectly embodies the voice of a male poet in crisis, Harry Quirk ... [she] is a master at nailing Harry’s antagonizing voice, and her protagonist does not disappoint. Readers will be sucked into extremely realistic familial dramas.... With acute perception and witty humor, this bittersweet novel moves along at a tremendous pace, entertaining until its climactic final scene. —Megan Fishman
Christensen (Trouble, 2009, etc.) knows her way around aging characters. Having won the PEN/Faulkner Award for her lively septuagenarians in The Great Man (2007), she now creates a charmingly ribald bohemian poet flailing about in late middle age. A masterpiece of comedy and angst.
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