Category Archives: D’Aprix Sweeney Cynthia

The Nest: Cynthia D’Aprix Sweeney

“How had they raised children who were so impractical and yet so entitled?”

When “self-made” Leonard Plumb created a trust fund for his four children, he knew, from his own bitter family history, that “abundance proffered too soon led to lassitude and indolence, a wandering dissatisfaction.” He didn’t intend to leave his children rolling in money, so he delayed the disbursement until the youngest, Melody, was 40 years old. He wanted his children to make their own way in life and not count on a cushy payout, and reasoned that a lump sum coming in their 40s would be:

“a little something to sit atop their own, inevitable financial achievements […] and pad their retirement a bit, maybe help fund a college tuition or two. Nothing so vast as to be truly significant”

Unfortunately, Leonard’s well-intentioned plans didn’t work out the way he reasoned. He could not have predicted that “as the fund grew so, too, would his children’s tolerance for risk.” Leo, the eldest, at forty-six, has made and wasted millions and is about to be cleaned out by his avaricious soon-to-be ex-wife, Victoria, a “world-class spendthrift.” Jack, a gay antique dealer, has secretly been paying his bills by using a line of credit against a vacation home he owns with his husband. Bea, a “formerly talented” writer can’t finish a novel and now works for a literary magazine called Paper Fibres which may appear to be keeping afloat but is really financed by the owner, Paul’s elderly maiden aunts. After years of scrimping but still living beyond their means, Melody whose “fortieth birthday glowed like a distant lighthouse, flashing its beam of rescue” plans to use her money to send her twins to expensive schools and pay off her house loans. All of the siblings, with the exception of Bea, have counted on “the Nest” to bail them out of their self-created financial woes.

the nest

A few months before Melody’s 4oth, a drunk and wasted Leo, a “narcissistic sociopath” (according to Victoria) ditches his wife at a wedding and causes an accident which leads to a permanent disability for the 19 year old waitress who is the passenger in his careening Porsche. Terrified of scandal, and wanting to avoid any financial involvement, Leo’s mother, the widow Plumb, always remote, “disengaged” and now remarried, but with power of attorney over the trust account, decimates “the Nest” by paying off the waitress and her family. After all, Leo, she reasons, is “the least needy and therefore, the one she thought of with the most fondness.” Leo, who’s been holed up in rehab, returns to New York, to the remains of his ruined life and to face his angry siblings. All that remains of “The Nest” is a fraction of the amount the four Plumb siblings expected. This is a disaster that everyone must face and one that has lasting repercussions for all involved.

Set in New York, the literal ‘nest’ for the siblings, the novel manages to capture the nuances and recent history of the city–the incredibly high cost of housing, the aftermath of 9-11, and the impact of AIDS on the gay community.

The Nest, a debut novel from Cynthia D’Aprix Sweeney is caustically funny, and most of the humour comes from the self-destructive behaviours of the Plumb family–most notably Leo who is a charming philanderer always managing to step away from disaster while others mop-up. Sweeeny has a sharp eye which focuses on the subtleties of sibling relationships, and how dynamics established in childhood never really alter with the passage of time. While the tale’s focus is humour, there are a lot of painful truths here. The promise of a generous mid-life inheritance has done little for the Plumb siblings other than cause them to plan for the big payday, and as a result of the money they think is headed their way, they’ve all (with the exception of Bea) made horrible financial moves, delayed maturity, and have refused to face some realities.

The book’s humor keeps up a good pace throughout the novel, which, given the content– squabbling, desperate siblings and a depleted inheritance, is no small feat. I particularly loved the scenes of the Plumb parents–long deceased patriarch, Leonard Plumb and his inappropriate enthusiasms for his work, and his widow Francie who can’t keep her children’s birthdays straight, thinks Melody needs Botox, and when it comes to the matter of using “The Nest” to bail out Leo has to “contend with this execution squad of her own children.” The scene in which Melody recalls her only childhood party is priceless. It’s lamely organized by her mother, Francie, who’s furiously downing martinis wearing a silk kimono which “this early in the day was a very bad sign.”

But then Francie started singing “Over the Rainbow” and only a few verses in she started to weep. “Mom?” Melody said, weakly.

“It’s just so, so sad,” Francie said. She turned to them. “The studios killed Judy Garland. They killed her. That voice and what a tragedy. They made her and then they killed her.”

The girls were sitting quietly, nervously giggling. “Uppers to work all day. Downers to sleep at night. She was just a kid.” Francie stood now, facing them, her robe gaping a little in front. “I wanted to be an actress. I could have gone to Hollywood.”

One of the criticisms I read about the novel is that while readers enjoyed it, they considered ‘light.’ I recently read Tessa Hadley’s The Past, another novel about siblings and inheritance, and while The Past is a deeper novel with stronger characterizations and a gorgeous sense of the passage of time, The Nest‘s delightful humorous approach should not eradicate the serious messages here regarding our frequently unhealthy relationships with money.

Review copy

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