“Fantasies seem great, but they’re just gateway drugs. You need more and more and then, when reality kicks in, you’re totally fucked.”
Various destructive fantasies and desires collide and converge in Jason Starr’s Savage Lane, a maliciously dark look at the lives of a handful of affluent suburbanites. There is a consistent subtext throughout this author’s work: the American Dream is Starr’s American Nightmare. So whether Starr is focusing on stay-at home dads, achieving upward mobility, the vagaries of employment, assertiveness, home defense, or as in the case of Savage Lane, life in the ‘burbs, expect a subversive look at American society and its values. Jason Starr’s novels are classified as crime & suspense, and while there’s no argument there, since Starr’s characters are often supposedly decent upstanding members of society before they go off the rails and slide into criminality, I’ll add the label Transgressive fiction.
Savage Lane, a quiet prestigious neighbourhood in affluent Westchester county is home to the two families who are central to this story. There are the Bermans: husband Mark, his wife Debbie and their two children: Justin and Riley. And across the street is delectable, divorced Karen Daily and her two children Elana and Matthew. Due to the similarities in status, economics and the children’s ages, the Bermans used to be best friends with Karen and her now-ex Joe, but since the divorce, things have become more awkward. As a divorced woman who dates a lot of men through internet sites, Karen has become, in the eyes of the other women in the community, a suspected husband stealer, a “homewrecker.”
The Bermans’ marriage is on the rocks, and while Deb has some nasty secrets of her own, she suspects that Mark is having an affair with Karen. Mark is certainly feeding the fire by hanging around Karen, jogging with her every day, texting her constantly and grabbing her hand at a party. Karen is so immersed in her own problems, that she fails to see the warning light, and Mark’s relationship as a friend creeps into something else.
Starr’s characters are constrained by societal standards but they long, or are pressured, to bust out and reveal the beast within. So we see Mark’s obsession with Karen growing to dangerous levels, and Deb, who has a problem with alcohol, determined to cast herself in the role of victim so that she can divorce, and loot, Mark. While these two families spiral out of control (and this includes a girl fight at the local prestigious country club), there’s another character here who’s already on the board and is about to change the entire game.
I loved Savage Lane for its nastiness, its dark, dark humour, and its subversiveness. The story is told from various viewpoints–and I’ll stress not multiple narrators. That leaves Starr always in control of his story. Even though the story unfolds from different characters (including the wildly unreliable) so that we see inside their heads, Starr gives his characters no place to hide. While the characters comfort themselves with justification and excuses, their weaknesses and foibles are glaringly and hilariously on display. One of the techniques Starr employs is to show the way we lies to ourselves in order to slide into certain slippery behaviour. Here’s Karen with her usual liquid breakfast:
She still felt nauseated and her head was killing her. After making sure she’d deleted all the texts she’d sent and received, she switched the phone to silent mode and put it away in her purse. Then she heard Casey clacking away down the stairs and a few moments later he came into the kitchen, panting, and went right toward the sliding screen doors. She let him out and then, watching the happy dog sprint toward the backyard to do his business, the thought, Dog, hair of the dog, that’s it, and she got a glass, went to the liquor cabinet in the dining room, and poured some vodka–not much, just half a glass, enough to get back.
I especially loved the scenes en famille, for Starr is merciless with his portrayal of pathological family life. There’s an irony to the whole set-up. Karen, addicted to exercise and trying to stay marketable, is desperately surfing dating sites to get her new man while Deb, sinking into alcoholism, tells herself she doesn’t need her husband around anymore. Caught in between these two is cologne-soaked, pathetic creeper Mark, who fancies himself as a Javier Bardem look-alike. Here’s a chaotic scene in which a police detective, Piretti, questions Mark about his wife and his relationship with Karen. Mark is trying desperately to downplay any family issues, but his resentful teenage daughter jumps in and reveals the rot. Even the dog gets in on the mayhem.
“Friends don’t text that much, especially grownups who are friends. That’s why Mom wanted a divorce, because she knew what was going on too, she wasn’t a fucking idiot.”
“Riley, that’s enough,” her dad said, raising his voice.
But Riley kept going, saying, “It’s true. That’s why she’d been acting so weird lately.”
“How was she acting weird?” Piretti asked.
“She’s very upset, she doesn’t know what she’s saying,” her dad said to Piretti.
“She was too acting weird,” Riley said.
“She was distracted all the time, and she was drinking like crazy. Sometimes I’d come home from school and smell the alcohol on her breath. Saturday morning in the car on the way home from dance class, she was acting really weird.”
“That’s enough Riley.,” her dad said.
“Let her talk,” Piretti said.
Then Justin came into the kitchen, holding an X-Box joystick, and asked, “Is Mom home yet?”
“Is that why Mom wanted a divorce?” Riley said to her dad. “Because you were going to leave her for Karen?”
Now Casey came into the kitchen and was barking.
“Shut up,” Mark said to her, and maybe to the dog too.
Jason Starr is not a stylist, and neither is he interested in in-depth character analysis, so his books tend to look as though they are deceptively easy to write. He is not writing ‘great literature,’ but neither is that his intention; Starr’s novels (he’s also written a number of graphic and comic books) are modern pulp threaded with societal concerns and pressures, so here we see mouthy teenagers who lead lives their parents are unaware of, children who are more worried about the X-Box than a less-than stellar parent, and cell phones as a helluva way to get in trouble. Spearing characters who find themselves in positions in life without quite understanding how they got there, Starr’s strengths are his plotting and his vision of the confinements of the norms of society. Just as you think you have nailed the plot of Savage Lane, Starr barrels in out of left field and delivers surprise after surprise, so be prepared. Savage Lane, fueled by the triple horsepower of urban middle age angst, fantasy and obsession is Starr’s best novel yet.