![]() ![]() Where the earlier book used the music scene to explore selfhood and the passage of time, The Candy House employs social media for similar purposes, to talk about how people shape themselves in relation to each other and to their past. ![]() It serves as a sequel, too, continuing the stories of Lou, the sleazy record producer Benny, the punker turned music-industry executive Sasha, the artist, who was once Benny’s kleptomaniac personal assistant and her autistic son, Lincoln, who in Goon Squad loved and measured the pauses in rock songs. In its loosely connected structure and powerful thematic logic, The Candy House echoes Egan’s 2010 A Visit from the Goon Squad. ![]() Close-up, her pieces look like brightly hued heaps of ill-assorted objects, but seen from the air, they form lines of color that race joyfully across the ground, acquiring “structure and logic, like random scribbles aligning into prose.” ![]() One of its characters, Sasha, is an artist who makes sculptures out of discarded plastic in the California desert. The Candy House, by Jennifer Egan, Scribner, 334 pages, $ 28Īn image from Jennifer Egan’s The Candy House reflects the eclectic form and the electric excitement of this noisy, crowded, exhilaratingly inventive novel. ![]()
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