The Dog: A Novel (Vintage Contemporaries)
The Dog: A Novel (Vintage Contemporaries) book cover

The Dog: A Novel (Vintage Contemporaries)

Paperback – June 9, 2015

Price
$16.95
Format
Paperback
Pages
256
Publisher
Vintage
Publication Date
ISBN-13
978-0307472946
Dimensions
5.2 x 0.65 x 8 inches
Weight
8 ounces

Description

“A brilliant satire.” — The Boston Globe “Fascinating. . . . Explor[es] deep questions about ethics and happiness in a globalized age.” — Chicago Tribune “A mordantly funny and, surprisingly for these times, deeply moral tale of lost love and economic betrayal.” —John Banville, The Guardian (London) xa0 “Brilliant. . . . A devastating portrait of a man and world stuck in a moral impasse.” —NPR“A mix of Martin Amis and Thomas Bernhard. . . . With a consummate elegance, The Dog turns in on itself in imitation of the dreadful circling and futility of consciousness itself. . . . Its wit and brio keep us temporarily more alive than we usually allow ourselves to be.” — The New York Times Book Review “Bleak and funny. . . . O’Neill is a brilliant stylist.” — Slate “Engrossing. . . . Wonderfully droll. . . . An office-computer version of Saul Bellow’s Herzog .” — Entertainment Weekly (A-)“Stylish and funny, a linguistic romp.” — Minneapolis Star Tribune "Enraged, brutal, witty, brilliant." —The Sunday Times (London) “Compelling. . . . Brilliant.” — The Daily Beast “Astoundingly constructed. . . . Wonderfully light-footed and funny, and frequently poignant.” — Buffalo News “Alluring. . . . Striking.” — Pittsburgh Post-Gazette “Axa0shimmering portrait of modernity.” — The Guardian (London) “Our existential hero has a Beckettian soul. . . . O’Neill’s prose is never less than exacting and exalted.xa0. . . O’Neill, more than any other writer in English, inhabits a global world effortlessly.” — The Irish Times “A humorous meditation on the dialects of attention and distraction in the modern world, O’Neill’s work playfully skewers the global economy of consumption and our abstract notions of responsibility in its perpetuation.” — Library Journal (starred review) “Shades of Kafka and Conrad permeate O’Neill’s thoughtful modern fable of exile.” — Kirkus Reviews (starred) “Pitch-perfect prose. . . . Clever, witty, and profoundly insightful, this is a beautifully crafted narrative about a man undone by a soulless society.” — Publishers Weekly (starred) Joseph O’Neill is the author of the novels Netherland (which won the PEN/Faulkner Award for Fiction and the Kerry Group Irish Fiction Award), The Breezes, and This Is the Life, and of a family history, Blood-Dark Track. He lives in New York and teaches at Bard College. Excerpt. © Reprinted by permission. All rights reserved. Perhaps because of my growing sense of the inefficiency of life lived on land and in air, of my growing sense that the accumulation of experience amounts, when all is said and done and pondered, simply to extra weight, so that one ends up dragging oneself around as if imprisoned in one of those Winnie the Pooh suits of explorers of the deep, I took up diving. As might be expected, this decision initially aggravated the problem of inefficiency. There was the bungling associated with a new endeavor, and there was the exhaustion brought on by over-watching the films of Jacques Cousteau. And yet, once I’d completed advanced scuba training and a Fish Identification Course and I began to dive properly and in fact at every opportunity, I learned that the undersea world may be nearly a pure substitute for the world from which one enters it. I cannot help pointing out that this substitution has the effect of limiting what might be termed the biographical import of life—the momentousness to which one’s every drawing of breath seems damned. To be, almost without metaphor, a fish in water: what liberation. xa0 I loved to dive at Musandam. Without fail my buddy was Ollie Christakos, who is from Cootamundra, Australia. One morning, out by one of the islands, we followed a wall at a depth of forty feet. At the tip of the island were strong currents, and once we had passed through these I looked up and saw an immense moth, it seemed for a moment, hurrying in the open water above. It was a remarkable thing, and I turned to alert Ollie. He was preoccupied. He was pointing beneath us, farther down the wall, into green and purple abyssal water. I looked: there was nothing there. With very uncharacteristic agitation, Ollie kept pointing, and again I looked and saw nothing. On the speedboat, I told him about the eagle ray. He stated that he’d spotted something a lot better than an eagle ray and that very frankly he was a little bit disappointed I wasn’t able to verify it. Ollie said, “I saw the Man from Atlantis.” xa0 This was how I first heard of Ted Wilson—as the Man from Atlantis. The nickname derived from the seventies TV drama of that name. It starred Patrick Duffy as the lone survivor from a ruined underwater civilization, who becomes involved in various adventures in which he puts to good use his inordinate aquatic powers. From my childhood I retained only this memory of Man from Atlantis : its amphibious hero propelled himself through the liquid element not with his arms, which remained at his sides, but by a forceful undulation of his trunk and legs. It was not suggested by anybody that Wilson was a superman. But it was said that Wilson spent more time below the surface of water than above, that he always went out alone, and that his preference was for dives, including night-time dives, way too risky for a solo diver. It was said that he wore a wet suit the coloring of which—olive green with faint swirls of pale green, dark green, and yellow—made him all but invisible in and around the reefs, where, of course, hide-and-seek is the mortal way of things. Among the more fanatical local divers an underwater sighting of Wilson was grounds for sending an e-mail to interested parties setting out all relevant details of the event, and some jester briefly put up a webpage with a chart on which corroborated sightings would be represented by a grinning emoticon and uncorroborated ones by an emoticon with an iffy expression. Whatever. People will do anything to keep busy. Who knows if the chart, which in my opinion constituted a hounding, had any factual basis: it is perhaps needless to bring up that the Man from Atlantis and his motives gave rise to a lot of speculation and mere opinion, and that accordingly it is difficult, especially in light of the other things that were said about him, to be confident about the actual rather than the fabulous extent of Wilson’s undersea life; but there seems no question he spent unusual amounts of time underwater. xa0 I must be careful, here, to separate myself distinctly from the milling of this man, Wilson, by rumor. It’s one thing to offer intrusive conjecture about a person’s recreational activities, another thing to place a person into a machine for grinding by crushing. This happened to Ted Wilson. He was discussed into dust. That’s Dubai, I suppose—a country of buzz. Maybe the secrecy of the Ruler precludes any other state of affairs, and maybe not. There is no question that spreading everywhere in the emirate are opacities that, since we are on the subject, call to my mind submarine depths. And so the place makes gossips of us whether we like it or not, and makes us susceptible to gullibility and false shrewdness. I’m not sure there is a good way to counteract this; it may even be that there arrives a moment when the veteran of the never-ending struggle for solid facts perversely becomes greener than ever. Not long ago, I heard a story about a Tasmanian tiger for sale in Satwa and half-believed it. Ted Wilson, it turned out, had an apartment in The Situation—the apartment building where I live. His place was on the twentieth floor, two above mine. Our interaction consisted of hellos in the elevator. Then, plunging or rising, we would study the Egyptian hieroglyphs inscribed on the stainless steel sides of the car. These encounters reduced almost to nothing my curiosity about him. Wilson was a man in his forties of average height and weight, with a mostly bald head. He had the kind of face that seems to me purely Anglo-Saxon, that is, drained of all color and features, and perhaps in reaction to this drainage he was, as I noticed, a man who fiddled at growing gray-blond goatees, beards, mustaches, sideburns. There was no sign of gills or webbed fingers. xa0 The striking thing about him was his American accent. Few Americans move here, the usual explanation being that we must pay federal taxes on worldwide income and will benefit relatively little from the fiscal advantages the United Arab Emirates offers its denizens. This theory is, I think, only partly right. A further fraction of the answer must be that the typical American candidate for expatriation to the Gulf, who might without disparagement be described as the mediocre office worker, has little instinct for emigration. To put it another way, a person usually needs a special incentive to be here—or, perhaps more accurately, to not be elsewhere—and surely this is all the more true for the American who, rather than trying his luck in California or Texas or New York, chooses to come to this strange desert metropolis. Either way, fortune will play its expected role. I suppose I say all this from experience. xa0 In early 2007, in a New York City cloakroom, I ran into a college friend, Edmond Batros. I hadn’t thought about Eddie in years, and of course it was difficult to equate without shock this thirty-seven-year-old with his counterpart in memory. Whereas in college he’d been a chubby Lebanese kid who seemed dumbstruck by a pint of beer and whom everyone felt a little sorry for, grown-up Eddie gave every sign—pink shirt unbuttoned to the breastbone, suntan, glimmering female companion, twenty-buck tip to the coat-check girl—of being a brazenly contented man of the world. If he hadn’t approached me and identified himself, I wouldn’t have known him. We hugged, and there was a to-do about the wonderful improbability of it all. Eddie was only briefly in town and we agreed to meet the next day for dinner at Asia de Cuba. It was there, by the supposedly holographic waterfall, that we reminisced about the year we lived in a Dublin house occupied by college students who had in common only that we were not Irish: aside from me and Eddie, there was a Belgian and an Englishman and a Greek. Eddie and I were not by any stretch great pals but we had as an adventitious link the French language: I spoke it because of my francophone Swiss mother, Eddie because he’d grown up in that multilingual Lebanese way, speaking fluent if slightly alien versions of French, English, and Arabic. In Ireland we’d mutter asides to each other in French and feel that this betokened something important. I had no idea his family was worth hundreds of millions of dollars. xa0 Now he ordered one drink after another. Like a couple of old actuaries, we could not avoid surveying the various outcomes that long-lost friends or near-friends had met with. Eddie, with his Facebook account, was much more up to speed than I. From him I learned that one poor soul had had two autistic children, and that another had intentionally fallen into traffic from an overpass near Dublin airport. As he talked, I was confronted with a strangely painful idiosyncratic memory—how, during the rugby season, a vast, chaotic crowd periodically filled the street on which our house was situated and, seemingly by a miracle of arithmetic, went without residue into the stadium at the top of the road, a fateful mass subtraction that would make me think, with my youngster’s lavish melancholy, of our species’ brave collective merriness in the face of death. Out of the stadium came from time to time the famous Irish refrain Alive, alive-o Alive, alive-o. Obviously, I did not share this flashback with Eddie. xa0 He removed a pair of sunglasses from his breast pocket and very ceremoniously put them on. xa0 “You’ve got to be kidding me,” I said. The young Eddie had ridiculously worn these very shades at all times, even indoors. He was one of those guys for whom Top Gun was a big movie. xa0 Eddie said, “Oh yes, I’m still rocking the Aviators.” He said, “Remember that standoff with the statistics professor?” xa0 I remembered. This man had forbidden Eddie from wearing shades to his lectures. The interdiction had crushed Eddie. His shades were fitted with lenses for his myopia; having to wear regular spectacles would have destroyed him. I advised him, “He can fuck himself. You do your thing. It’s a free world.” xa0 “He’s a total bastard. He’ll throw me out of the class.” xa0 I said, “Let him! You want to wear shades, wear shades. What’s he saying—he gets to decide what you wear? Eddie, sometimes you’ve got to draw a line in the sand.” xa0 Line in the sand? What was I talking about? What did I know about lines in the sand? xa0 Young Eddie declared, “Je vous ai compris!” He persisted in wearing his sunglasses. The lecturer did nothing about it. xa0 “That was a real lesson,” Eddie told me at Asia de Cuba. “Fight them on the beaches. Fight them on the landing grounds.” Removing the Ray-Bans—he preserved them as a talisman now, and had a collection of hundreds of tinted bifocals for day-to-day use; on his travels he personally hand-carried his shades in a customized photographer’s briefcase—Eddie told me that he’d taken over from his father the running of various Batros enterprises. In return I told him a little about my own situation. Either I was more revealing than I’d thought or Eddie Batros was now something of a psychologist, because soon afterward he wrote to me with a job offer. He stated that he’d wanted for some time to appoint a Batros family trustee (“to keep an eye on our holdings, trusts, investment portfolios, etc.”) but had not found a qualified person who both was ready to move to Dubai (where the Batros Group and indeed some Batros family members were nominally headquartered) and enjoyed, as such a person by definition had to, the family’s “limitless trust.” “Hoping against hope,” as he put it, he wondered if I might be open to considering the position. His e-mail asserted, I know of no more honest man than you. There was no reasonable basis for this statement, but I was moved by it—for a moment I wept a little, in fact. I wrote back expressing my interest. Eddie answered, OK. You will have to meet Sandro then decide. He will get in touch with you soon. Sandro was the older of the two Batros brothers. I’d never met him. xa0 Right away I came up with a plan. The plan was to fly New York-[Dubai]. This is to say, I had no interest in Dubai qua Dubai. My interest was in getting out of New York. If Eddie’s job had been in Djibouti, the plan would have been to fly New York-[Djibouti]. Read more

Features & Highlights

  • A
  • New York Times
  • Notable Book Nominated for the Man Booker Prize
  • In this extraordinary, both comic and philosophically profound novel, the acclaimed author of
  • Netherland
  • uncovers the hidden contours of a glittering Middle Eastern city—and the quiet dilemmas of modernity. When our unnamed hero, a self-sabotaging and oddly existential lawyer, finds his life in New York falling apart, he seizes an opportunity to flee to Dubai, taking a mysterious job for a fabulously wealthy Lebanese family. As he struggles with his position as the “family officer” of the capricious Batros brothers, he also struggles with the “doghouse,” a condition of culpability in which he feels trapped, even as he composes endless electronic correspondence—both sent and unsent—in an attempt to find a way out. An unforgettable fable for our globalized times,
  • The Dog
  • is told with Joseph O’Neill’s hallmark eloquence, empathy, and stylistic mastery.

Customer Reviews

Rating Breakdown

★★★★★
30%
(174)
★★★★
20%
(116)
★★★
15%
(87)
★★
7%
(41)
28%
(161)

Most Helpful Reviews

✓ Verified Purchase

A dark warning in a well executed, satisfying novel. .

O’Neill presents a light satire of the contemporary social scene brilliantly, but the fun covers layers of more serious subtext. If the reader is not tuned in to the underlying social criticism, the ending comes as a shock. It is an uncomfortable ending as it is clearly intended to be. We get to kind of like this narrator. His explanations for what he does seem to make sense. His excuses for inaction are plausible. He seems like everyman just trying to get along in the world. But there is no system of values beyond his immediate comfort. O’Neill underscores this void just before the conclusion by having the narrator recall little quotations from John Kennedy and George Washington and Anna Julia Cooper from his mother’s kitchen, which he denigrates as sixth grade wisdom. X is too cynical to take comfort or meaning from this past. The blank, white wall he ends up facing is like a dissolution of his personhood, a horrific image.

In the beginning, however, we seem to be embarking on a fun sendup of silly expats in Dubai. Before he gets to Dubai, there is a great parody of the online community analyzing and eventually belittling an act of spontaneous bravery by a citizen. We can all experience the shock of recognition in that presentation. This is what the public discourse has become. You do start to pick up on X’s unusual lack of real human relationships though. His sexual relations go a fraudulent pretense of intimacy, to soft porn, to hard porn, to a massage chair. In the end his lover is a massage chair. The chair, Pasha, becomes a chilling metaphor for the complete depersonalization of relationships.

X’s sin is not corruption but complacency. His dishonesty consists in his failure to call out the cruelty that surrounds him. The deferral of all responsibility in the gibberish of user agreements seems so clever to X. But power relationships will always rule when the rule of law does not apply. The situation (also the name of his living quarters); the situation in Dubai is unacceptable. It violates in every respect the wise and honest standard humanity aspires to. The imagined emails that X does not send are exactly what he ought to have been sending if he were an honorable person. And, of course, at the heart of his inaction is Jenn, the woman whose future he stole because it was convenient. This novel has so many great sentences in it, but the one about Jenn is so right:

“There was always a chance she’d change her mind, and there was nothing to stop me from telling her that come what may I would not have a child with her because our quasi-marriage was a living death for me—surely a pretty significant piece of information that is absolutely one’s obligation to communicate to one’s partner in a timely fashion. Jenn, I’m so sorry.))”

We don’t really understand this about X until well into the novel. It comes as something of a shock. And then the rest of it starts to fit the pattern. Jenn’s retribution speaks of her loss. Her continuing, energy eating, enmity. She did not move on. The novel is ultimately an apt portrayal of the thing we have most to fear. If we don’t insist on those sixth-grade values, and fight to the death to defend them, Dubai is the future.
4 people found this helpful
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Garbage

Absolute garbage. From the 1st run-on sentence I found this to one of the worst novels I've attempted to read. I read about 50 novels a year and do enjoy good literature, not just the "flash- bang" stuff. In fact, I gave up at page 70. Basically a stream of consciousness with run on sentences, disjointed subplots, made-up words, weak/shallow characters, and poor construction all the way around. I believe this is an attempt to glorify "modern literature" which is basically crap. My wife is getting a masters in English and the "modern" guys would love this book while anything written before 1960 is disregarded as "dead white guys" and irrelevant. If you are looking for good prose, clarity, interesting people and plots this book is not for you.
4 people found this helpful
✓ Verified Purchase

for anyone who likes 'literature' . . . not to be missed.

one of the best most extraordinary novels i've read in years. brilliant in concept and execution. mordantly funny. intellectually astute and then some. i loved his last book -- netherland -- but the dog is a masterpiece. impossible to overpraise. to be savored slowly and thoroughly.
3 people found this helpful
✓ Verified Purchase

While there were some situations that were masterfully satirized the ...

While there were some situations that were masterfully satirized the novel as a whole did not add up to much.
1 people found this helpful
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I read this book when it first came out, and it is great.

O'Neill is one of my top 3 favorite authors and I've loved everything he's written in his inimitable wise, warm and humorous style. Give us another new novel, please Joseph!
✓ Verified Purchase

Wonderfully written satire

Wonderfully written satire. Some sentences remind me of Keith Waterhouse but ONeill is deeper, darker, humourous at times and mostly not.
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Five Stars

Excellent book - the author wrote a character that was totally authentic to me.