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Set in 1974, Colum McCann’s Let the Great World Spin captures the spirit of an age -- when Nixon resigned, soldiers returned home from Vietnam, the oil crisis was at its peak and the technology of computers emerged on the horizon. But it is also a brilliant reflection of the present, with its examination of faith, art, love and belonging.
The novel begins one August morning as a tightrope walker makes his way, through the dawn light, between the World Trade Center towers, stunning thousands of watchers below. Using the true story of Philippe Petit as a pull-through metaphor, McCann crafts a portrait of a city and a people. Corrigan, a radical, young Irish monk, struggles with his demons as he lives among the prostitutes in the burning Bronx. A group of mothers gathers in a Park Avenue apartment to mourn their sons who have died in Vietnam, only to discover how much divides them even in their grief. Farther uptown, Tillie, a 38-year-old grandmother, turns tricks alongside her teenage daughter, determined to not only take care of her “babies” but also to prove her own worth.
Elegantly weaving together these, and other, seemingly disparate lives, McCann’s powerful allegory of 9/11 comes alive in the unforgettable voices of the city’s people, unexpectedly drawn together by hope, beauty and the tightrope walker’s “artistic crime of the century.” McCann’s most ambitious work to date has already been hailed as an American masterpiece.
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Amazon Best of the Month, June 2009: Colum McCann has worked some exquisite magic with Let the Great World Spin, conjuring a novel of electromagnetic force that defies gravity. It's August of 1974, a summer "hot and serious and full of death and betrayal," and Watergate and the Vietnam War make the world feel precarious. A stunned hush pauses the cacophonous universe of New York City as a man on a cable walks (repeatedly) between World Trade Center towers. This extraordinary, real-life feat by French funambulist Philippe Petit becomes the touchstone for stories that briefly submerge you in ten varied and intense lives--a street priest, heroin-addicted hookers, mothers mourning sons lost in war, young artists, a Park Avenue judge. All their lives are ordinary and unforgettable, overlapping at the edges, occasionally converging. And when they coalesce in the final pages, the moment hums with such grace that its memory might tighten your throat weeks later. You might find yourself paused, considering the universe of lives one city contains in any slice of time, each of us a singular world, sometimes passing close enough to touch or collide, to birth a new generation or kill it, sending out ripples, leaving residue, an imprint, marking each other, our city, the very air--compassionately or callously, unable to see all the damage we do or heal. And most of us stumbling, just trying not to trip, or step in something awful.
But then someone does something extraordinary, like dancing on a cable strung 110 stories in the air, or imagining a magnificent novel that lifts us up for a sky-scraping, dizzy glimpse of something greater: the sordid grandeur of this whirling world, "bigger than its buildings, bigger than its inhabitants." --Mari MalcolmAmazon Exclusive: Frank McCourt on Let the Great World Spin
Now I worry about Colum McCann. What is he going to do after this blockbuster groundbreaking heartbreaking symphony of a novel? No novelist writing of New York has climbed higher, dived deeper.
Trust me, this is the sort of book that you will take off your shelf over and over again as the years go along. It’s a story of the early 1970s, but it’s also the story of our present times. And it is, in many ways, a story of a moment of lasting redemption even in the face of all the evidence.
There are dozens of intimate tales and threads at the core of Let the Great World Spin. On one level there’s the tightrope walker making his way across the World Trade Center towers. But as the novel goes along the “walker” becomes less and less of a focal point and we begin to care more about the people down below, on the pavement, in the ordinary throes of their existence. There’s an Irish monk living in the Bronx projects. There’s a Park Avenue mother in mourning for her dead son, who was blown up in the cafés of Saigon. There are the original computer hackers who "visit" New York in an early echo of the Internet. There’s an artist who has learn to return to the simplicity of love. And then--in possibly the book’s wildest and most ambitious section--there’s a Bronx hooker who has brought up her children in “the house that horse built”--“horse” of course being the heroin that was ubiquitous in the '70s.
All the voices feel realized and authentic and the writing floats along. This was my city back then--and now. McCann has written about New York before, but never quite as piercingly or as provocatively as this. This is fiction that gets the heart thumping.
The stories are interweaved so that it is one story, on one day, in one city, and yet it is also a history of the present time. In Let the Great World Spin, you can’t ignore the overtones for today: suffice it to say that the novel is held together by an act of redemption and beauty. I didn’t want to stop turning the pages.
I’m really not sure what McCann will do after this, but this is a great New York book, not just for New Yorkers but for anyone who walks any sort of tightrope at all. And yes, it doesn’t surprise me that it takes an Irishman to capture the heart of the city... --Frank McCourt(Photo © Kit DeFever) About the Author:
COLUM McCANN is the internationally bestselling author of seven novels and three collections of stories. His most recent novel, TransAtlantic, was longlisted for the Man Booker Prize, and his previous novel, Let the Great World Spin, won the National Book Award and the International IMPAC Dublin Literary Award. His fiction has been published in thirty-five languages. He lives in New York City with his wife and their three children.
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