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Better
"John O'Brien was a stunningly talented writer who created poetry from the most squalid materials."-Jay McInerney, author of Bright Lights, Big CityWithin the walls of a foreboding mansion situated in the hills overlooking Los Angeles, the suave Double Felix plays host to an array of beautiful women as well as his unlikely sidekick William. The mysterious patriarch grants his live-in guests’ every wish while asking nothing in return. Days begin with William and Double Felix discussing their conquests with the ladies over morning Vodka, a ritual that is nonetheless edged in homoerotic tension. From there the drinking continues, only to be interrupted by some miscellany-perhaps a rerun of The Love Boat or some casual sex.But the ongoing torpor has been upset by the house's newest arrival, a stunning young woman named Laurie, with whom both Double Felix and William become hopelessly smitten. Trash-talking Maggie and Zipper, the hooker who flew in on a trick and never left, smolder with envy while Laurie garners more and more attention from the men.As tensions spiral out of control, the house-an almost anthropomorphic entity in itself-ejects some of its denizens while further ensnaring others. Eventually, each faces the same leave or stay. The decision is fraught with consequence.Better delves deep into the psyche of its subjects through an intricate web of cultural icons, loyalty, covert communications, and sex. John O'Brien's characters loom in and out of a surreal world that seems to float high above the rest of us, but is in fact firmly tethered to the human condition.John O'Brien was born in 1960 and grew up in Cleveland, Ohio. He moved to Los Angeles in 1982 with his then-wife Lisa. During his lifetime, he was a busboy, file clerk, and coffee roaster, but writing was his true calling. He committed suicide in April 1994 at age thirty-three. His published fiction includes Leaving Las Vegas, The Assault on Tony's, and Stripper Lessons.
- GenresFiction
209 pages, Kindle Edition
First published August 1, 2009
About the author
John O'Brien
5 books100 followersJohn O'Brien's first novel Leaving Las Vegas was published in 1990 and made into a film of the same name in 1995.
His other three works were published posthumously.
[Source]
John O'Brien was born in 1960 and grew up in Cleveland, Ohio. He moved to Los Angeles in 1982 with his then-wife Lisa. During his lifetime, he was a busboy, file clerk, and coffee roaster, but writing was his true calling. He committed suicide in April 1994 at age thirty-three. His published fiction includes "Leaving Las Vegas," "The Assault on Tony's," and "Stripper Lessons."
"John O'Brien was a stunningly talented writer who created poetry from the most squalid materials."--Jay McInerney, author of "Bright Lights, Big City"
His other three works were published posthumously.
[Source]
John O'Brien was born in 1960 and grew up in Cleveland, Ohio. He moved to Los Angeles in 1982 with his then-wife Lisa. During his lifetime, he was a busboy, file clerk, and coffee roaster, but writing was his true calling. He committed suicide in April 1994 at age thirty-three. His published fiction includes "Leaving Las Vegas," "The Assault on Tony's," and "Stripper Lessons."
"John O'Brien was a stunningly talented writer who created poetry from the most squalid materials."--Jay McInerney, author of "Bright Lights, Big City"
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Displaying 1 - 11 of 11 reviews
July 7, 2009
"This is how it is in the universe. This is how the universe holds our attention. More importantly, this is how the universe keeps us from checking out, committing no-frills suicide: by keeping the attraction in the act, not the result. That is, we fuck for the fucking, not for the babies; they are merely a by-product of what we're really into--or so it would seem to us. We are not important. Our interests in babies is not important. The machine runs on stronger stuff, and what is revealed is only what's revealed."
"My hands are now in her shirt. Her breasts are firm, supple, receptive to my touch. I open her shirt and see that they are truly pretty things; in fact, above all they are just that--pretty things. It seems that right now, being caressed under my hungry hands, they are serving their one true purpose. It's as if, assigned the maternal duty of giving milk, they would turn away and sneer incredulously: NO WAY! That is not their destiny, and I am certain that this girl will never bear children. The thought endears her to me. I have always considered the concept of procreation to be somewhat anachronistic, at least insofar as it is considered a virtual requirement of maturity. Children, fatherhood--for me these things have no place; indeed, the reality of a scion would amount to nothing more than just another loose end in my life; worse, for it would extend beyond my life, beyond my control."
"My hands are now in her shirt. Her breasts are firm, supple, receptive to my touch. I open her shirt and see that they are truly pretty things; in fact, above all they are just that--pretty things. It seems that right now, being caressed under my hungry hands, they are serving their one true purpose. It's as if, assigned the maternal duty of giving milk, they would turn away and sneer incredulously: NO WAY! That is not their destiny, and I am certain that this girl will never bear children. The thought endears her to me. I have always considered the concept of procreation to be somewhat anachronistic, at least insofar as it is considered a virtual requirement of maturity. Children, fatherhood--for me these things have no place; indeed, the reality of a scion would amount to nothing more than just another loose end in my life; worse, for it would extend beyond my life, beyond my control."
August 16, 2026
From page 73-
I've always admired Zipper's sparing use of language; in fact, I see it as a reflection of her clear thinking. She has the words she uses and uses the words she has. This is an improvement over my own tangled attempts at communication, which are often tedious and prolix to a fault, due chiefly to a pedantic father who once gave me a list of the two hundred most widely used words in the English language and, shocked by my difficulty in augmenting that list, demanded that I add ten words each week, using all of them in conversation, the effectiveness of which had a direct bearing on the timely disbursement of my allowance. Even my thoughts, as nearly as I can tell, are convoluted beyond usefulness by my silent, internal quest for the precise words and phrasing. I invariably end up very unsure of the basis of my original reasoning, the fiber of what I wanted to reflect and store in the murk of my grey matter......
This is a great example of the prose in this book, you may have noticed the antimetabole in the second sentence. He loves to play around with words. A good example of this is in Leaving Las Vegas, the hotel he stays at is called "The Whole Year Inn" pronounced "The hole your in". It's also a good example of how he includes his experiences into the writing. It can be very hard to separate the fiction from the autobiographical.....Did his father actually give him the list of 200 words and make him add to it every week? It would explain his prolific use of bygone words in his books.
If you've read Leaving Las Vegas you probably felt the Hubert Selby Jr. influence right off the bat. This book was written a few years later and not published until 2009, stylistically it is all John Obrien coming into his own, there is alot less plot involved than in LLV so alot of the book is dialogue or thoughts of the characters.
As far as I can tell the whole book seems to be an allegory for his life and relationships with the other house mates perhaps being people he knew in real life or even family members. One of the main characters is named Double Felix, could this be a play on words with a double helix being the shape of DNA. There is a rather climactic ending which can be interpreted in many different ways, I wish there were more reviews of this book so I could try to get a grasp on it all and I personally don't want to spoil it with my own thoughts on the matter. But I will say that the atmosphere that he builds up condenses into a the-sky-is-falling conclusion.
These are all just my thoughts, I personally loved this book......The man did struggle with a lot of demons and essentially committed to drinking himself into oblivion, so maybe not for everyone.
I've always admired Zipper's sparing use of language; in fact, I see it as a reflection of her clear thinking. She has the words she uses and uses the words she has. This is an improvement over my own tangled attempts at communication, which are often tedious and prolix to a fault, due chiefly to a pedantic father who once gave me a list of the two hundred most widely used words in the English language and, shocked by my difficulty in augmenting that list, demanded that I add ten words each week, using all of them in conversation, the effectiveness of which had a direct bearing on the timely disbursement of my allowance. Even my thoughts, as nearly as I can tell, are convoluted beyond usefulness by my silent, internal quest for the precise words and phrasing. I invariably end up very unsure of the basis of my original reasoning, the fiber of what I wanted to reflect and store in the murk of my grey matter......
This is a great example of the prose in this book, you may have noticed the antimetabole in the second sentence. He loves to play around with words. A good example of this is in Leaving Las Vegas, the hotel he stays at is called "The Whole Year Inn" pronounced "The hole your in". It's also a good example of how he includes his experiences into the writing. It can be very hard to separate the fiction from the autobiographical.....Did his father actually give him the list of 200 words and make him add to it every week? It would explain his prolific use of bygone words in his books.
If you've read Leaving Las Vegas you probably felt the Hubert Selby Jr. influence right off the bat. This book was written a few years later and not published until 2009, stylistically it is all John Obrien coming into his own, there is alot less plot involved than in LLV so alot of the book is dialogue or thoughts of the characters.
As far as I can tell the whole book seems to be an allegory for his life and relationships with the other house mates perhaps being people he knew in real life or even family members. One of the main characters is named Double Felix, could this be a play on words with a double helix being the shape of DNA. There is a rather climactic ending which can be interpreted in many different ways, I wish there were more reviews of this book so I could try to get a grasp on it all and I personally don't want to spoil it with my own thoughts on the matter. But I will say that the atmosphere that he builds up condenses into a the-sky-is-falling conclusion.
These are all just my thoughts, I personally loved this book......The man did struggle with a lot of demons and essentially committed to drinking himself into oblivion, so maybe not for everyone.
February 27, 2014
John O'Brien always gives us a privileged view into the depths of his characters, their secrets, their hidden agendas, their romantic thoughts, which are for our eyes only. And he slows down scenes, making it all about the moment. "Better" is a strange book in that it takes place solely inside the confines of a mansion overlooking the California coast. This is where we meet William, a permanent house guest of the Lord of the Manor, Double Felix. Their interactions are a play on language, a literary contest every morning over a glass of vodka. "Better" demonstrates how language is character and character is language.
Read this book after you have read O'Brien's more commercial "Leaving Las Vegas" and "Stripper Lessons."
Read this book after you have read O'Brien's more commercial "Leaving Las Vegas" and "Stripper Lessons."
April 1, 2024
Given the context of O’Brien’s own alcoholism and suicide, this is a deeply upsetting novel that leaves off on a rather hopeless note. Every character is written as somewhat one dimensional, yet the chapters through their points of view reveal that each is conflicted and troubled in their own way. The novel being an allegory for your own genetic failings and a sense of predestination is evident through these chapters. The characters make their own attempts at leaving the house and thus defying their genetic makeup, but for our narrator, we see his vices envelop him in a very literal sense. Pretty prose, not my favorite book I’ve read.
November 11, 2018
Poetry from squalor - I have never read anyone like John O'Brien and I don't know if there ever will be someone whose style and subjects and characters converge on the reader the way they do. Never a disappointing read.
January 28, 2021
A pretty good read that ended with many unanswered questions. I can’t help but wonder if John O’Brien has more planned for this book.
May 3, 2024
SPOILERS (what is there to spoil in this book?)
I loved Leaving Las Vegas and have read everything O’Brien has written because of it. O’Brien, for me, is the only author where I spend as much, or more time thinking about him writing the book as I do about the plot. Because if we’re honest with ourselves, we can all sense the autobiographical nature of his writing.
Was he drunk when he typed his manuscript? Which anecdotes from his novels actually happened to him? O’Brien only published Leaving Las Vegas, then committed suicide shortly before it became a film; his other novels published posthumously; completed by his sister.
I think about that quite a bit. What’s it like for his sister to read and reread and edit and polish the prose of her depressed, dead brother; to read and polish his drunken sexual fantasies. It sticks in my head.
I love O’Brien’s prose in Leaving Las Vegas; the fridge doesn’t hum, it: “hums happily”. I also loved the relationship between Ben and Sera.
Better feels like O’Brien’s first attempt at writing Leaving Las Vegas, his rough draft (maybe this is Ben’s origin story (?)
There are so many parallel themes between the two books: pining after someone you’re infatuated with, while not feeling worthy enough to be loved back; the main characters are all kind and oh so thoughtful while simultaneously saying obnoxious or hurtful things to each other; self-destructive men and the women who love them for it.
Though Better brings O’Brien’s signature prose, it’s like a 200 page poem, it is overindulgent. There’s a whole paragraph describing how the ice cubes are sitting in his glass. Furthermore, Better lacks the plot/character development of O’Brien’s other work.
The plot covers a little over a 24 hour time span in a Malibu mansion where a wealthy man, Double Felix, caters to the every whim of his 5 house guests, who are all young, attractive and promiscuous; and the narrator, an alcoholic, is a stand-in for O’Brien. Think the Big Brother reality show, if it was scripted by Chuck Palahniuk.
As mentioned, the writing style is unique. Written in 1st person omniscient (?) Narrated in the first person but the narrator also tells you what’s happening and being said in rooms where he’s not present. Is it a story he’s telling rather than life he’s living? Is it a dream? Or just because?
Also, O’Brien will change narrators mid-paragraph with no warning (fun).
Is the Malibu mansion a metaphor for purgatory? Maybe a hospice? A place for William, the narrator, to drink himself to death, amongst caring attendants while the outside world passes him by?
Clearly, the fire and how it impacted each room, is an indication; but of what?
I loved Leaving Las Vegas and have read everything O’Brien has written because of it. O’Brien, for me, is the only author where I spend as much, or more time thinking about him writing the book as I do about the plot. Because if we’re honest with ourselves, we can all sense the autobiographical nature of his writing.
Was he drunk when he typed his manuscript? Which anecdotes from his novels actually happened to him? O’Brien only published Leaving Las Vegas, then committed suicide shortly before it became a film; his other novels published posthumously; completed by his sister.
I think about that quite a bit. What’s it like for his sister to read and reread and edit and polish the prose of her depressed, dead brother; to read and polish his drunken sexual fantasies. It sticks in my head.
I love O’Brien’s prose in Leaving Las Vegas; the fridge doesn’t hum, it: “hums happily”. I also loved the relationship between Ben and Sera.
Better feels like O’Brien’s first attempt at writing Leaving Las Vegas, his rough draft (maybe this is Ben’s origin story (?)
There are so many parallel themes between the two books: pining after someone you’re infatuated with, while not feeling worthy enough to be loved back; the main characters are all kind and oh so thoughtful while simultaneously saying obnoxious or hurtful things to each other; self-destructive men and the women who love them for it.
Though Better brings O’Brien’s signature prose, it’s like a 200 page poem, it is overindulgent. There’s a whole paragraph describing how the ice cubes are sitting in his glass. Furthermore, Better lacks the plot/character development of O’Brien’s other work.
The plot covers a little over a 24 hour time span in a Malibu mansion where a wealthy man, Double Felix, caters to the every whim of his 5 house guests, who are all young, attractive and promiscuous; and the narrator, an alcoholic, is a stand-in for O’Brien. Think the Big Brother reality show, if it was scripted by Chuck Palahniuk.
As mentioned, the writing style is unique. Written in 1st person omniscient (?) Narrated in the first person but the narrator also tells you what’s happening and being said in rooms where he’s not present. Is it a story he’s telling rather than life he’s living? Is it a dream? Or just because?
Also, O’Brien will change narrators mid-paragraph with no warning (fun).
Is the Malibu mansion a metaphor for purgatory? Maybe a hospice? A place for William, the narrator, to drink himself to death, amongst caring attendants while the outside world passes him by?
Clearly, the fire and how it impacted each room, is an indication; but of what?
This entire review has been hidden because of spoilers.
July 13, 2023
Points because he has a flair for writing interesting sentences, but the misogyny and pointlessness of the plot grows tiresome fast.
October 22, 2011
This rather slim novel is by the author of LEAVING LAS VEGAS, and chronicles the lives of various inhabitants who live in a lavish 'crash pad' high in the Hollywood hills. Double Felix (his name is Felix, but this is his rather clever nickname)owns the home, and oversees a non-stop alcohol fueled party, and he sometimes invites people to stay and live at the house. The novel is mostly told by William who was a high-profile, severely alcoholic corporate lawyer who came to party, and never left. Also, in the house is a beautiful Asian hooker by the name of Zipper, a young party-girl called Maggie, and a very young and beautiful girl by the name of Laurie who has captivated both William and Double Felix. The book is mostly a catalog of snide dialog and weird philosophical ramblings by the house guests. Finally, a house fire forces everyone to move on. This book could have been so much better, and it was released posthumously.
March 12, 2016
Nope. Didn't like this. It was very difficult to read. Made little sense. I had a super hard time getting into it and never really did get into it. Boring and found myself skimming which lead to more confusion, yet I didn't even care to try and figure out what I missed.
November 16, 2010
This was not an easy book to read...and it is not for most tastes...would mainly be of interest to people who saw "Leaving Las Vegas" and didn't turn it off or look away.
Displaying 1 - 11 of 11 reviews