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301 pages, Hardcover
First published February 15, 1999
Years ago at the end of the school year, bored and idling around the office, I pilfered off a colleague’s shelf a novel called The Funnies (1999), by a writer named J. Robert Lennon. The cover seemed appealing and I’d never heard of its author. Said colleague assured me it was okay to take, but didn’t say anything one way or the other about the book. The other day something nudged me to actually read it, and I just finished it.
The novel is a quintessential piece of “literary fiction,” very much a product of its time. It tells the story of the Mix family, whose patriarch, Carl, has just died. Carl leaves behind his long-running daily comic, “The Family Funnies,” a “Family Circus”-style strip that features the whole Mix clan in cartoon form. Carl bequeaths the business to his son Tim, a struggling “starving artist,” and has arranged for Tim to receive lessons in drawing the strip and conveying its saccharine, mass-appeal jokes. Tim, narrating, struggles to fulfill his fated role (there’s a rival involved, and legal hurdles), and we learn about the history of the Mixes and how they’ve each been affected by having their lives whitewashed and put on display for the country’s amusement. Tim meets a woman, so there’s a romantic element as well.
I have just assigned an end-of-the-school-year writing piece, and my high-school juniors are struggling with writing fiction. In my writing conferences with them, the refrain of “there has to be a compelling conflict” has popped up repeatedly. Well. A novel in which the sole main conflict is whether an artist will “get the job” or not does not make for a compelling conflict. Nothing happens in this book! The Mixes process their dad’s demise—he was a shit father so their guilt about not being too distraught is worth a few pages. There’s another storyline with the wife/mother and her deteriorating condition in a local nursing home—but she’s unlikable as well. Tim gets tutored on drawing the comics—not exactly riveting detail there. And Tim reconnects with his siblings and their families. Ho hum. The aforementioned rival assumes the mantle of villain, but the extent of his villainy is to make Tim look bad to the publisher so that the publisher will hire him to take over the strip and not Tim.
I don’t know—the novel kept me reading, so props for that. The setting of rural/suburban New Jersey and New York City—and the symbiosis between each location—is well done, and Lennon’s writing is sound. The inner workings of how to produce a comic strip is interesting, but only goes so far in that vein. Tim’s voice is on the earnest side, and by the end gets annoying. The love story isn’t anything special. But mostly—nothing happens!
I’ll be returning the copy of the novel to my colleague surreptitiously, in his mailbox slot in the main school office. Even though he did not recommend the book, just acquiesced when asked to borrow it, I don’t feel like having to talk to him about what I thought about it. F for The Funnies—F for Forgettable.