Review of Emily St. John Mandel’s The Lola Quartet
Every time I read a novel by Emily St. John Mandel, I start thinking about what I need to have with me (which should all fit in a largish messenger bag) for a one-way trip to a destination unknown, and what I can leave behind. That thought experiment never ends well, for the real work of deciding what to carry and what to leave behind is about the memories that attach to things. It gets called baggage for a reason, after all. In this way, Mandelâs new novel, The Lola Quartet is a variation on a theme. Like her first, Last Night In Montreal, this book is about the consequences of running away with your child and your love for her â but this time scored for orchestra instead of chamber music.
The Lola Quartet was a high school jazz ensemble, formed by students at an arts-oriented magnet school to earn extra credit that won awards but broke up after high school. The Lola Quartet is the story of the members: Gavin, the trumpet player who moves to New York to become a reporter, only to be fired for fabricating his news stories; Daniel the bassist who would wind up a detective in his home town; Jack the overly talented saxophonist who to music school to study jazz piano only to drop out in his second semester; Sasha the drummer who would wind up living down her gambling addiction waiting tables at an all-night diner. Their unexpected ten-year reunion comes thanks to Anna, Sashaâs half-sister and Gavinâs then girlfriend, who still lived in terror after going on the run with her newborn daughter Chloe and $120,000 stolen from a meth dealer in Utah.
After the collapse of his journalism career, Gavin works for his sisterâs real estate business, offering foreclosure victims cash for keys. Where The Singerâs Gun was her 9/11 novel, The Lola Quartet is Mandelâs story of the subprime meltdown. The first of Gavinâs fabrications is the name of a woman in Sebastian Florida, a small town north of Miami that has been engulfed the suburbs, about the encroachment of wild former pets like iguanas and anacondas who told him, âWe thought we were coming closer to nature, but all along nature was creeping closer to us.â The second story was about disgraced financier Jonathan Alkaitis, a stand-in for Bernie Madoff. âItâs a nightmare that we canât wake up from.â While the mortgage backed securities were traded in New York, the exurbs of Florida were some of the hardest hit by the housing crash. The common thread that binds the Ponzi scheme and the attempt to build a better life by building farther into the suburbs is wanting something and making it so by wish. Our world is made by our actions, but it is solipsism to believe we can dictate the consequences. Faced with real life, these wishes turn into mere lies.
Gavin, with his 1973 Yashica and perfect lens, fedora, &c., is guilty of this basic failure to meet the world on its own terms. Indeed, the fabrications in his newspaper stories didnât so much cause his downfall as hasten it by a few months â even his editor would be laid off within a couple of months of his firing. The lesson that he learns is that nostalgia â an incurable longing for time lost â is not a way of connecting with a purer, more authentic self that has been eroded away by a relentless present, but a sort of pathology that prevents us from authentically living the one life that it is possible to live.
What brings Gavin crashing back to Earth is the discovery that he fathered a child with his high school girlfriend before he left for college. Once he returns to Florida, he decides to find his daughter. This turns out to be more difficult than he imagined, so he becomes his own private detective. He discovers far too late that things have been in motion for ten years, none of which he can retrieve. He gets himself shot. He learns that there was nothing he can do now and nothing he could ever have done to change things with his daughter. When he does find Anna, she displays a hard-boiledness he canât stomach. Anna tells him,
After I left Utah that time, when I was seventeen. I ran and hid for years, and I just couldnât do it again. You donât know what itâs like. Always looking over your shoulder, looking out for strange cars, the way all windows have eyes. This time there wouldnât have been any money, Gavin, this time we wouldâve been in hiding forever, Chloe and I. New names, no friends, no more family, no money, and this time Iâd be with a child who was old enough to understand and old enough to give us away, and the people we left behind would be in danger, like I said. There wasnât a choice.
And that thought makes it much harder to want to disappear to destination unknown, because it would take the sort of desperation that nobody could want. But thatâs the fun of Mandelâs novels, you get the romance of disappearing without the desperation. Well, that and the breathlessly good prose.