This novel in verse about a group of California yuppies was one of the most highly praised books of 1986 and a bestseller on both coasts.
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Amazon.com Review
Can 690 sonnets, rhyming a-b-a-b-c-c-d-d-e-f-f-e-g-g, be a novel? Definitely! First published in 1986 and still fresh (the sole sign of its publication date being the frequent use of the word yuppie), Vikram Seth's The Golden Gate will turn the verse-fearing into admiring acolytes. Janet Hayakawa, a yet-to-be-discovered sculptor and drummer in the Liquid Sheep, secretly places a personal ad for her friend John, even though she too is single. "Only her cats provide distraction,/Twin paradigms of lazy action." The seventh letter does the trick. Lawyer Liz Donati's submission is two sonnets in toto and disarms John into meeting her. Soon they fall into brief bliss, as do her brother, Ed, and John's old college roommate, Phil. Unfortunately, the first couple's love is too soon destroyed, partly by a pet, partly by politics; and the second is rent by religion. Ed pulls away thanks to the Bible: "I have to trust my faith's decisions, / Not batten on my own volitions."
The rest of the novel leads less to the traditional comic ending--rapprochement and marriage all around--than to surprising sadness. But in between there is wit, wordplay, abounding allusion, and some marvelous animals, among them the iguana Schwarzenegger. The author even steps onto the stage on occasion: at a frou-frou publishing party a powerful editor accosts him, curious to hear about his new novel. When Seth tells him it's in verse, the temperature plummets. "'How marvelously quaint,' he said, / And subsequently cut me dead." Luckily, Seth's real editor did anything but.
From Publishers Weekly
While the idea of a novel in verse may be initially off-putting, readers of this tour de force are in for a treat. Using the sonnet form throughout, and varying his language from lyrical elegance to timely vernacular, Seth's tale of four California Yuppies is as fully dimensional as a good novel, and twice as diverting. In this witty, compressed style, he gives us fully delineated characters: John, a Silicon Valley executive seeking solace in a meaningful amatory relationship; his friend and ex-lover Janet, an artist and musician in a raucous rock band; Liz, a vivacious Stanford law grad whose parents produce superior California wine; her brother Ed, floundering between sin and religion; and John's pal Phil, abandoned by his wife and left with his son, his moral vision and his scientific career at Lungless Labs, a scene of antinuclear protests and rallies. It is an engaging story of the pangs and passions of love, interlaced with serious ruminations on homosexuality and religion and on the future of the earth in the atomic age; and some comic sallies on feline behavior, bumper stickers, responses to "personals" ads, and other facets of the contemporary scene as refracted through the California lifestyle. The bard does not hesitate to interrupt his story from time to time, to explain a change in the course of events or to comment upon the structure of his narration, as he defends himself against critics who would accuse him of folly in writing an entire novel in the sonnet form. Inspired by "the marvelous swift meter of Pushkin's Eugene Onegin," Seth (From Heaven's Lake performs imaginative acrobatic jests, quips and puns, delivering his social commentary with spirit and verve. In spite of some passages where he veers toward the maudlin and bathetic,Seth's experiment is a resounding success. 25,000 first printing; author tour.
Copyright 1986 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
Copyright 1986 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
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Most Helpful Customer Reviews
93 of 95 people found the following review helpful:
5.0 out of 5 stars
This amazing book,
By
This review is from: The Golden Gate (Hardcover)
It is enough to share this unsigned sonnet that I found written by hand inside the copy of this fine novel that I signed out of the Toronto Public Library:Dear friend, don't be intimidated By this, a novel penned in verse: Perhaps you have anticipated That it will be obscure or worse -- Solemn, pretentious, and "poetic". Relax! You'll need no anaesthetic. Our author tells his tale with style And wit and charm. Before long, I'll Bet, you'll find yourself engrossed in Each stanza of this narrative Of love and lust, of take and give, Of modern times. Let's drink a toast in Honour of the nerve it took To publish this amazing book.
26 of 28 people found the following review helpful:
4.0 out of 5 stars
A Tribute to The Golden Gate,
By Maheen Mohammed (Karachi, Pakistan) - See all my reviews
This review is from: The Golden Gate (Paperback)
"Imitation is," they say, "the bestForm of flattery." And so my Short and humble poem does attest To my having heaved a sad sigh On the last page - No more Golden Gate! Oh What a genius, that Vikram Seth! He wrote of friendship, love, and life, Betrayals, love affairs, and strife. Sex, politics, and other issues- Yet all the while maintaining rhyme. So read this book, it's worth the time. It's sad - you might just need some tissues. If you liked my rhyme even a bit Hear this: Compared to Vik's it's ****!
23 of 27 people found the following review helpful:
5.0 out of 5 stars
Anne Tyler walzing with Pushkin... a surprise, a delight,
By
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This review is from: The Golden Gate (Hardcover)
This book is one of a nearly extinct breed: a novel in verse. In that form lie its unique pleasures as well as its uncertain reception at some hands. The poet James Merrill, in his epic trilogy "The Changing Light at Sandover" has claimed that "forms what affirms". Does this mean that the satisfaction of the novel can only come if the line-breaks are reliably marginal? Linguists Whorf and Sapir have suggested that language constrains our thought - not so much in the realm of vocabulary as, again, in that of form. The radically different forms of, for instance, Hopi or Inuit constrain "what is relatively easy to say" and hence, what is said. Perhaps so. You'd expect that rhyming sonnets would constrain the voice of a novelist, but Vikram Seth has certainly shown here that is not necessarily the case. Chalk it up to a mastery of both form and story, though, not to versification. His technical skills extend to both realms. Moving, then, beyond form, we wonder about content of such a novel. Will the book wander (or waltz) into the deeply allegorical, the disconnected, the imagistic? After all, aren't those the consequences of poetic license? Have you read your Ashbery? Oddly, this poem is quite prosaic in that regard, it tells a tight, comprehensible story in a manner that is fluid but not embroidered. (By way of contrast, consider that you can easily find yourself spinning away in a vortex of magical metaphor in the latest Rushdie.) Novels, it would seem, are pretty much what we make of them. As one who has never really appreciated the modernist redesign of the novel, I found "The Golden Gate" to be a much more satisfying story - notwithstanding its several-hundred sonnets. The book is a well-textured story about a number of folks living their lives and relationships - apparently in the 80's. (Some reviewers have made much of the story's use of timestamped phraseology such as the use of "yuppie" and the like. Perhaps. But I'd imagine that the term "Okie" was equally a well-understood, sometimes overloaded, term of the 30's which we, nevertheless, can comfortably accept from Steinbeck.) The lives, loves and trials of these folks are presented with the careful painting and pacing of Anne Tyler and J. R. Lennon. Seth's verse in this book has been called "masterful". It is, indeed. Consider that the odd rhyme is hardly ever at hand for most of us, much less available when called upon, as he was, thousands of times. But Seth is more than a rhymer - something I noticed by contrast. I'm pretty sure the sonnet scheme he uses is the so-called "Pushkin rhyme." I only know this since I just struggled through a marginal translation of "Eugene Onegin" and noticed the similarity. But the sing-songy'ness of the Pushkin was gladly lacking in the Seth. He uses true poetic craft, line breaks and punctuation and word choice, to allow the reader to flow between a fluid, songlike verse and a more prosaic tale-telling. In other words, he uses the strengths of both forms when they serve, best, the needs of the work and the reader. So. Don't be afraid of the form. But also don't expect it to seem natural unless you have seen it before. I came to this book via a recommendation of Tom Disch in his essays in "The Castle of Indolence" (a 5-star plug there), and from a background in having sought out and read quite a number of long poems, epic poems and verse novels. If you taste this book more out of curiosity than experience, good for you! But grant yourself the time to bounce through the first dozen sonnets in the singy-songy phrasing that so many of us learned to be necessarily poetic many years ago. Then, as the story captures you, you will notice that the verse, with the help of Seth's subtle crafting, both lifts and disappears beneath the story. I'll read it again, and again.
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