Jonathan Coe has received the John Llewellyn Rhys Prize, the Prix du Meilleur Livre Etranger, the Prix Médicis Etranger, and, for The Rotters’ Club, the Bollinger Everyman Wodehouse Prize for the most original comic writing. He lives in London.
From the Trade Paperback edition.
Rotters' Club
by Jonathan Coe
eBook
-
ISBN-13:
9780307429278
- Publisher: Knopf Doubleday Publishing Group
- Publication date: 07/08/2019
- Series: Vintage Contemporaries
- Sold by: Penguin Group
- Format: eBook
- Pages: 432
- File size: 720 KB
Available on NOOK devices and apps
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Birmingham, England, c. 1973: industrial strikes, bad pop music, corrosive class warfare, adolescent angst, IRA bombings. Four friends: a class clown who stoops very low for a laugh; a confused artist enthralled by guitar rock; an earnest radical with socialist leanings; and a quiet dreamer obsessed with poetry, God, and the prettiest girl in school. As the world appears to self-destruct around them, they hold together to navigate the choppy waters of a decidedly ambiguous decade.
From the Trade Paperback edition.
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If you take a nonlinear approach to the history of the 20th century, the 1970s can be seen as an era of confused adolescence. Self-conscious, hormonal, pimply faced, it was a decade as ill at ease with itself as a pubescent boy in a powder-blue suit at a school dance. Jonathan Coe, author of the sly, complex, and farcical The Winshaw Legacy, sets his witty and nostalgic The Rotters' Club during that graceless period in Great Britain's history -- a time beset by labor disputes, racism, terrorism, and some really lame Eric Clapton songs.
The first installment in a two-book narrative (the second of which, The Closed Circle, will follow the same characters into the 1990s), The Rotters' Club opens in 1973 and centers on three Birmingham school chums -- Benjamin Trotter, Doug Anderton, and Phillip Chase -- whose lives focus primarily on homework, music, and girls. But their innocence -- and that of their families -- is shattered when the boyfriend of Ben's older sister is decapitated in an IRA bombing at a local pub. In a matter of seconds, a family and a nation is shaken from complacent slumber by the realization that terrorism -- something that once seemed so distant and foreign -- has slithered its malefic body right onto their doorstep. However, like John Irving's The Hotel New Hampshire, Coe's novel focuses on an act of terrorism but encompasses a great deal more. Though pivotal to the story, the bombing serves only as a catalyst for the characters' heightened awareness of how the political and social, and the racial and moral, mesh together in intricate patterns. In Coe's world there are no coincidences -- a passing glance will lead years later to a proposal of marriage, an answered personal add will result in death and insanity, a borrowed album will lead to a musical revolution. Every thing is connected.
Episodic, engaging, and very funny, The Rotters' Club is a sharp, postmodern epic -- a novel about friends and family, life and death, love and infidelity, symphonic rock and punk. In crafting both a satire and a love letter to a misunderstood era, Coe has created a sympathetic portrait of a group of young people who are coming of age along with their world. (Stephen Bloom)
Janet Julian
“The gritty, cross-pond equivalent to Look Homeward, Angel. . . . The pangs of embarrassment, the anguish of uncertainty, the awkwardness of success [are] vividly present here.” – Mike Francis, The Oregonian
“Funny and astute . . . The strength of The Rotters’ Club lies in its comic humanity.” – Stephen Amidon, The Atlantic Monthly
“Please, God . . . if there’s a next life, let me write as well as Jonathan Coe. The Rotters’ Club offers a thick slice of seventies Birmingham–sharp, acerbic, and menacingly true; a sad, funny, thoroughly engaging look at compromise, complicity, and change in a decade many of us would choose to forget.” –Anthony Bourdain, author of Kitchen Confidential and A Cook’s Tour
“Its tinder-dry combustion of comic, indignant and elegiac suggests an Evelyn Waugh of the left.” –Richard Eder, The New York Times Book Review
“A thrillingly traitorous work. It hums along for a hundred pages of wise comedy about teenage love’s mortifications, then cold cocks us with an honest surprise as cruel as it is earned.” –David Kipen, San Francisco Chronicle
“Jonathan Coe is a mesmerizing writer. . . . The Rotters’ Club is a wonderfully gripping novel, by turns funny, heartbreaking and terrifying.” –The Seattle Times
“The novel’s many intricate parts manage to mesh and turn with the startling harmony you find in Robert Altman’s movies.” –Todd Pruzan, The Village Voice
“If there’s a contemporary novelist who combines sharp and sometimes savage social commentary with the classic, full-blooded pleasures novels are supposed to give readers as well as Jonathan Coe does, I must have missed him.” –Charles Taylor, Salon.com
and from the UK . . .
“A must-read for anyone who cares about contemporary literature.” –Katie Owen, The Telegraph
“Filled with characters whose destinies we care about, whose welfare moves us. This is the simplest but highest calling of literature.” –William Sutcliffe, The Independent on Sunday
“As always with Jonathan Coe, the sheer intelligent good nature that suffuses his work makes it a pleasure to read.” –Peter Bradshaw, The Guardian
“As a study of adolescence, it is hard to beat. The aching naivety and intensity of the main characters made me think of Salinger.” –John de Falbe, The Spectator
“Coe handles his complex approach to a complex era effortlessly, and the end product is a compulsive and gripping read.” –Paul Connolly, The Times
“At once uproariously entertaining and deadly serious–a comedy of manners and mores, but also a conscientious and politically charged reminder of an age quite easily forgotten, yet not far removed from our own.” –Henry Hitchings, Times Literary Supplement
“Like all of Coe’s novels, The Rotters’ Club is brilliant, funny, apposite, informed and unflaggingly truth-seeking.” –Rachel Cusk, The Evening Standard
“Superior entertainment. The pages seem to turn themselves.” –Hugo Barnacle, The New Statesman