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Of course, literature, like art, bores us when it can be boiled down to a message.There are some references that raise the question of whether the characters here reflect either Mann’s “Magic Mountain” or his “Death in Venice”.And in his presence, Peter finds himself questioning his artists, their work, his career—the entire world he has so carefully constructed.

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With a spacious loft, a college-age daughter in Boston, and lively friends, they are admirable, enviable contemporary urbanites with every reason, it seems, to be happy.

Then Rebecca’s much younger look-alike brother, Ethan (kn Peter and Rebecca Harris: mid-forties denizens of Manhattan’s So Ho, nearing the apogee of committed careers in the arts—he a dealer, she an editor.

We look for cracks in the foundation of his marriage to his wife, who edits an arts magazine. Among three grown children, Jake is most concerned about silence that has fallen between him and his youngest, a college-aged daughter working as a waitress in Boston.

Does any sense of failure as a parent contribute to Peter's undermining?

With a set-up like this, one would expect a lot of melodramatics.

But Cunningham has an unusual way of playing with those expectations.Like his trying to engage one brilliant sculptor as a client by a trial placement of one of his works in the garden of a rich, eccentric female customer in Connecticut.Other less gifted artists whose works don’t sell call for kind ways to retire them as clients, while for another moderately talented one he does his best to put on a good show of her work at his gallery.While we wait for something significant to happen and our moral judgements to be exercised, we spend a lot of time with Peter as he goes about his business.I enjoyed the window on his world and warmed to his sensibilities and day-to-day interactions with the artists and his staff.In his mid-twenties and a Yale drop-out, he has just returned from a long spell mediating at a shrine in Japan.

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