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Follows the relationship of Bud, who has just turned twenty-one, and his girlfriend, Jane
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A tone-deaf first novel written in the author's inane approximation of youthful lingo, which all but succeeds in obscuring the book's lack of a definable plot. Bud is a 21-year-old college grad with few prospects and even fewer aspirations. Because his very hip young uncle Dewey has kept watch over Bud and his younger brother, Omar, since their father died (and their mother moved to a commune out West), Bud leads what many men his age might regard as a fantasy life. Bud, Omar, and Dewey live together in an open arrangement that would suit the most untameable teen. When he wants the money, Bud works in Dewey's record store, where a bad day consists of too many sales of Journey or Styx albums. The rest of the time, Bud is in a boozy haze with his moronic friends Tony and Zak, or he is having amazing sex with his beatific girlfriend Jane, the woman he has inexplicably managed to attract. The hedonistic tendencies of the characters might have worked if they didn't all manifest themselves in the same way--no one voice in the novel is distinct enough, or realistic enough, nor are any of the characters' actions unique enough (save for the better-left-unsaid exploits of Omar in a Fourth of July competition) to ever come across as credible. Bud's devotion to his girlfriend is sweet, but it doesn't progress or lead to uncharted emotional territory. Without any belief in the characters, the novel fails as ``Generation X'' pop fiction. It ends--for readers who even get that far--without any character having grown or developed in any significant way. -- Copyright ©1994, Kirkus Associates, LP. All rights reserved.From Publishers Weekly:
Proudly compared to Beavis and Butt-head by the publisher, this first novel lives up to the reference in most ways but ultimately falls short even of this standard. Bud, the first-person narrator and protagonist--ingeniously named for a beer and a generic male--moseys through a plot-anemic world of scatological humor (he and his buddies have fart contests), cliched sex with cynical girlfriend Jane (" 'I'm glad it was you that showed up and not the UPS guy,' " she quips), junky pop culture (the Sex Pistols, Van Halen), booze (Mad Dog, Wild Turkey) and secularism ("I might find religion yet--some rogue pro-fucking, pro-rock 'n' roll, pro-drunkenness sect"). Unlike the creators of Beavis and Butt-head , however, Ridgway throws in superficial references to all the sophisticated books he's read (Bernard Malamud and Nietzsche), cranks out an excess of I'm-so-cool pop culture references (I.R.S. Records, Alex Chilton) and hauls in the usual campy, fetishized '70s rock and punk music. The publisher's intended readership, who will be annoyed by the show-offy literary references, may not be that of Ridgway, who seems to have a conception of himself as a postmodern Henry Miller. Whoever chances on this unfortunate book, however, will prefer the greater complexities of TV.
Copyright 1994 Reed Business Information, Inc.
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Book Description St Martins Pr, 1994. Paperback. Condition: New. Never used!. Seller Inventory # P110312110790