Winner of the National Book Award After almost fifty years as a wife and mother, Enid Lambert is ready to have some fun. Unfortunately, her husband, Alfred, is losing his sanity to Parkinson's disease, and their children have long since flown the family nest to the catastrophes of their own lives. The oldest, Gary, a once-stable portfolio manager and family man, is trying to convince his wife and himself, despite clear signs to the contrary, that he is not clinically depressed. The middle child, Chip, has lost his seemingly secure academic job and is failing spectacularly at his new line of work. And Denise, the youngest, has escaped a disastrous marriage only to pour her youth and beauty down the drain of an affair with a married man-or so her mother fears. Desperate for some pleasure to look forward to, Enid has set her heart on an elusive goal: bringing her family together for one last Christmas at home. Jonathan Franzen is the author of" The Twenty-Seventh City," "Strong Motion," and the essay collection "How to Be Alone." He has been named one of the" Granta" 20 Best Novelists under 40 and is a frequent contributor to "The New Yorker" and "Harper's." He lives in New York City. Winner of the National Book Award Pulitzer Prize FinalistNational Book Critics Circle Award FinalistPEN/Faulkner Award Finalist"Los Angeles Times" Book Award Finalist"New York Times Book Review" Editors' ChoiceAmerican Library Association Notable Book "The Corrections "is a grandly entertaining novel for the new century--a comic, tragic masterpiece about a family breaking down in an age of easy fixes. After almost fifty years as a wife and mother, Enid Lambert is ready to have some fun. Unfortunately, her husband, Alfred, is losing his sanity to Parkinson's disease, and their children have long since flown the family nest to the catastrophes of their own lives. The oldest, Gary, a once-stable portfolio manager and family man, is trying to convince his wife and himself, despite clear signs to the contrary, that he is not clinically depressed. The middle child, Chip, has lost his seemingly secure academic job and is failing spectacularly at his new line of work. And Denise, the youngest, has escaped a disastrous marriage only to pour her youth and beauty down the drain of an affair with a married man--or so her mother fears. Desperate for some pleasure to look forward to, Enid has set her heart on an elusive goal: bringing her family together for one last Christmas at home. Stretching from the Midwest at midcentury to the Wall Street and Eastern Europe of today, "The Corrections "brings an old-fashioned world of civic virtue and sexual inhibitions into violent collision with the era of home surveillance, hands-off parenting, do-it-yourself mental health care, and globalized greed. Richly realistic and darkly hilarious, it confirms Jonathan Franzen as one of our most brilliant interpreters of American society and the American soul. "Funny and deeply sad, large-hearted and merciless, "The Corrections "is a testament to the range and depth of pleasures great fiction affords."--David Foster Wallace "Jonathan Franzen has built a powerful novel out of the swarming consciousness of a marriage, a family, a whole culture--our culture. And he has done it with sympathy and expansiveness that bend the edgy modern temper to a generous breadth of vision."--Don DeLillo "In its complexity, its scrutinizing and utterly unsentimental humanity, and its grasp of the subtle relationships between domestic drama and global events, "The Corrections" stands in the company of Mann's "Buddenbrooks" and DeLillo's "White Noise." It is a major accomplishment."--Michael Cunningham "Looms as a model for what ambitious storytelling can still say about modern life."--"San Francisco Chronicle" ""The Corrections "is the brightest, boldest, and most ambitious novel I've read in many years. With this dazzling work, Franzen gives notice that from now on, he is only going to hunt with the big cats."--Pat Conroy "You will laugh, wince, groan, weep, leave the table and maybe the country, promise never to go home again, and be reminded of why you read serious fiction in the first place . . . Wordplay worthy of Nabokov . . . Tiny, revelatory gestures . . . Magically precise images . . . Knowing one-liners . . . Franzen writes with convincing authority about the minutiae of railroads, clothing, medicine, economics, industry, cuisine, and Eastern European politics, and he knows just when to push his conceits over the top . . . But he also knows his way around more intimate territory . . . No one book, of course, can provide everything we want in a novel. But a book as strong as "The Corrections" seems ruled only by its own self-generated aesthetic: it creates the illusion of giving a complete account of a world, and while we're under its enchantment it temporarily eclipses whatever else we may have read. But I guess that is everything we want in a novel--except, when it's rocking along, for it never to dn0 be over."--"The New York Times Book Review" "What we're asking is whether Jonathan Franzen's" The Corrections" will become that rare thing, a literary work that everybody's reading? A lot of people are saying yes."--"Time" "The last 100 pages of "The Corrections" is an unforgettably sad, indelibly beautiful piece of literature . . . [Franzen] is a writer with talent to burn."--"Newsweek" "The novel of the year."--"Fortune" "Franzen is a wizard, endlessly inventive in his thematic connections and scene setting . . . "The Corrections "is a wide-open performance showcasing the full range of his skills and his eclectic intelligence . . . [It] recalls no novel so much as John Cheever's "The Wapshot Scandal." "The Corrections" is just as funny and sad and smart as that masterpiece, and Franzen, like Cheever, reminds us of the timelessness of human folly."--Stewart O'Nan, "The Atlantic Monthly " "Dazzling . . . electric . . . There's something thrilling, heartening, and inspiring about seeing life revealed so accurately, so transparently--and finally, so forgivingly."--Francine Prose, "O" magazine " 'Honestly' hype[d] . . . novel of extraordinary merit . . . Franzen's ability to infuse each character with such appealing vulnerability. Which, of course, is the redemptive hat trick of great literature: The Lamberts may be humming with unhappiness, but we are left humming with their--and our own--humanity."--"Vogue" "Let's not mince words or pussyfoot with fancy lit-crit lingo. This is a great book. It needs to be read . . . A panoramic work that frequently zeroes in, with almost claustrophobic clarity, on human foibles . . . A huge, ambitious, powerful, funny, imaginative yet realistic novel. This book is a gift."--"The Philadelphia Inquirer" "A big, showy powerhouse of a novel, revved up with ideas but satisfyingly beholden to the traditions of character and plot . . . Smart and boisterous and beautifully paced . . . Franzen's epic study in irony suggests Wolfe running into Don DeLillo . . . The greatest strength of "The Corrections, " and there are many, is its skillful narrative relativism, the way it delivers one version of the truth about a character, then fleshes out that reality over time into something