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Jonathan Franzen’s gift for wedding depth and vividness of character with breadth of social vision has never been more dazzlingly evident than in Crossroads.

It’s December 23, 1971, and heavy weather is forecast for Chicago. Russ Hildebrandt, the associate pastor of a liberal suburban church, is on the brink of breaking free of a marriage he finds joyless—unless his wife, Marion, who has her own secret life, beats him to it. Their eldest child, Clem, is coming home from college on fire with moral absolutism, having t

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Book Title: Crossroads: A Novel
Book Author: Jonathan Franzen
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Crossroads: A Novel by Jonathan Franzen Book Review

Name: switterbug/Betsey Van Horn
Rating: 5.0 out of 5 stars
Title: Franzen's absolute BEST!
Date: Reviewed in the United States 🇺🇸 on October 28, 2021
Review: Franzen doesn’t so much create original stories anymore; he perfects ones that exist, and tweaks makeshift ones into masterpieces of fiction. He’s never better than when he focuses on family and dramatic domestic dynamics. CROSSROADS, which takes place in the 1970s, centers on pastor Russ Hildebrandt and his more Catholic wife, Marion, one of the most memorable female protagonists in eons (on that level of intensity). If for no other reason, read this to meet Marion. These are key archetypes and themes, and also convoluted and Shakespearean with a (tragi-) comedy of errors. Existential characters seek freedom from contradictions by adhering to Christian doctrine--or rejecting it.

The title Crossroads could be called Blurred Boundaries. Russ and Marion and their four children--Clem, Becky, Perry, and Judson--are all highly intelligent and distinctively damaged. Generally, they live with poor boundaries. Reader, you’ll relate. Franzen doesn’t break walls, or puncture through ceilings with plot, but he will dazzle you with the authenticity of Marion, Russ, and three of their four children. Judson is the youngest child and the only one not fleshed out. (I think it is purposeful.) Depth of character is Franzen’s wheelhouse, and this narrative (a genre that he invented or at least contoured for the modern era) illustrates how lives bleed into each other, and who we are willing to discard on our way to become authentic and happy (or selfish and charlatan). Franzen practically created the modern domestic drama, and now he’s rearranging and adding the complication of religion.

Crossroads is the youth group connected to the First Reformed church, where Russ Hildebrandt preaches (but he’s associate, not the lead). Rick Ambrose is the young, attractive, and hip new head counselor at Crossroads. His teenagers at the center admire, respect, and practically worship him. Ambrose and Russ’s antipathy toward each other creates much of this novel’s suspense; the roots of the feud are gradually revealed. The torture for Russ never stops, despite the fact that he created this quagmire.

Franzen shows us religion (Christianity) through a laid back (not extremist) and compassionate lens. I’m an atheist and yet I was not turned off by First Reformed’s guiding principles and gentle approach to parishioners. You don’t have to agree with its doctrine to still respect the even-handed patronage (However incongruously, there’s still a struggle with hypocrisy by those that preach and parent).

Crossroads is the first in a trilogy, which will likely take us through to the present, and possibly beyond, to a dystopian-esque near-future. The trilogy itself is allegedly named, A Key to All Mythologies, and I’m stumped how that fits in with Crossroads, the novel (which is assuredly fitting). Every primary character in this novel will stand at a personal crossroads. Some, like son Perry, will bring you to your knees. His infernal fall from child to enfant terrible troubled my nightly dreams as I continued to read.

Romantic Love, sister/brother love, honor, addiction, betrayal, greed, adultery, rape, understanding, generosity, self-pity--all and more are explored. “It was strange that self-pity wasn’t on the list of deadly sins… None was deadlier.”

Despite the degeneracy of a few characters, Franzen also counters the ugly with the softest, gentlest, and most forgiving grace that I remember from his novels Purity, Freedom, and even Corrections. The author’s empathy for his characters’ worst behaviors is crucial to this story. That is what allows him to explore his cast so thoroughly, and the deviances so particularly. Every time a segment ends on a character, I start off the next part wishing to go back to the character I was reading. But, Franzen is so talented a portraitist that by the time that a few pages pass into another character, I’m hooked again. That’s a skill that Franzen confidently possesses.

God as a concept has some Navajo power and the story’s spirituality often encompasses desire for wisdom and balance, which contrasts with those seven deadly sins-- gluttony, greed, lust, envy, pride, and the rest. At the crossroads of each Hildebrandt--individually and as a family, moderation is crushed by dangerous indulgences.

Now I’m eager for book #2. All the characters have a lot more living to do, and I suspect that the sidelined or obscured ones will carry more weight in the second book, their story blossoming. If it weren’t for the fact of a trilogy, I would have criticized the ending for being rushed and unfinished, but Franzen is setting up for the next book. (Still, no excuse for a teensy-bit of a sloppy ending). All is forgiven, because I inhabited this book for many hours, and I’m still having a hard time transitioning to another book.

Starting around the 400 mark, there were about fifty pages that don’t fit the style and tone of the rest of the book. That part is a chronicle of Russ and his history with the Navajo tribe, and also how he met Marion. The tone was dry and flat, but the prose was still beautiful. I wondered if he removed his original work and replaced it with what read like journalistic entries.

Cutting to the deepest theme hits the bone. The seven deadly sins serve biblically for the story’s underpinnings and fear factor of bad behavior. Can a hypocritical pastor nevertheless be effective at work? While the parents are busy with their self-indulgent mid-life crises, the children are all over the map. (This is not to disparage Marion’s past trauma). Becky is a natural leader with her cool head. Clem is dear to Becky but otherwise distant from family. He’s older. Judson, the youngest, was more of a sketch at this point. Franzen also blends in existential philosophy into the narrative. As Spielberg keeps looking for a father in his art, Franzen will eternally seek answers about existence.

Where do we learn morality? Of course, from reading a Jonathan Franzen novel! This is his best character study novel yet. Marion just blows me away. Read it, literature and character geeks!

Name: morehumanthanhuman
Rating: 4.0 out of 5 stars
Title: Sprawling, hard to put down
Date: Reviewed in the United States 🇺🇸 on October 20, 2022
Review: I am not a Franzen fan. I dislike how he tends to universalize his own upbringing (70s, midwestern) as some sort of mythical American origin experience. I think his understanding of how women think is often laughable. I hate his typical horny, bumbling middle-aged guy characters. I bought this book mainly to debate it with a family member who is a huge Franzen fan and just because I like to keep up with major books. Even if you dislike him, he's still a major novelist.

I was pleasantly surprised by how much I got into this book. That isn't to say that the usual Franzen problems aren't there. It's hard to find a purer expression of white, 70s, midwestern culture than this Illinois pastor and his family. Much of the major drama of the book concerns church politics and Russ struggling to understand how he lost control of the church youth group of a younger and "cooler" pastor. His wife, Marion, is written as fat and frumpy (when you find out at one point she only weighs 140, it's hard not to throw the book across the room). Her character "works" mainly because she's on the verge of cracking up for the whole novel. Becky, his daughter, is more of a cypher of desirability than an actual character. Russ is probably the prototype middle-aged horny dork.

If you asked me "what happens?" it would be hard to describe without rambling on about church youth groups and Navajo mission trips and sexual mores in the 1950s. I tried to tell someone about this book and just had to give up. The best way to explain it is that it's about the fracturing of a family and some members of the family coming back together again, while others are lost. I suspect it will be much easier to describe this book once it is finished, because the ending of this book doesn't seem like an ending at all. There's some enduring mysteries. For example, we spend hundreds of pages inside the heads of both Russ and Marion and come to intimately understand what they had -- once -- and how it is lost, seemingly broken beyond repair. Then we come to a dramatic point and we get no more information about their mental state or how they actually feel about each other, yet the book continues. I trust there's a reason for this and much will be revealed in the future. But for a standalone book (as it is now), it feels deeply unsatisfying.

The bottom line is that, for me, this was a messy book that probably could have used a stronger editorial hand. But it was also fascinating. Russ is one of the best characters Franzen has ever created. You see him through his own eyes and he's compelling. Through the eyes of other characters, we also see his selfishness and how embarrassing his need for approval and connection can be. We also see him violate the boundaries of other people. It's really well done.