Book titles like this always intrigue me. Who’s speaking? Where is “this”? Who’s being left? Who does the leaving? (don’t worry, no spoilers in this review!)
Judd Foxman is a recently cuckolded husband, 34 years old. He catches his beautiful wife of ten years cheating on him with his macho boss. We meet him at rock bottom, sleeping on a couch in a friend’s basement, when he learns from his older sister Wendy that their dad died. The Foxmans are Jewish and though their dad didn’t believe in God, he wanted the family to sit shiva.
So Judd, Wendy, and their other brothers Paul and Phillip reconvene at their mother’s home with their partners to mourn for seven days.
Judd, of course, goes alone. He says in one of his acute one-liners that are scattered throughout the book, “You get married to have an ally against your family, and now I’m heading into the trenches alone.”
Even though it’s apparent that their dad’s dying request for them to sit shiva is a plot device to get all the members of this highly dysfunctional family together for seven days to sort through their crap, it works. Or you don’t care if it really works because getting such damaged, emotionally repressed, and large personalities all in one room leads to some hilarious and healing moments. And also a lot of sex, brawls, and reopened wounds (both literally and figuratively).
Here’s an example of a passage that had me laughing out loud:
Serena, Wendy’s baby girl, screams like she’s been stabbed. We can all hear her in amplified stereo as we eat lunch, thanks to the high-tech baby monitor Wendy has set up on the table in the front hall, but Wendy doesn’t seem at all inclined to go upstairs and quiet the baby. “We’re Letting Her Cry,” she announces, like it’s a movement they’ve joined. If they’re letting her cry anyway, I don’t really see the point of the baby monitor, but that’s just one of those questions I’ve learned not to ask, because I’ll just get that condescending look all parents reserve for non-parents, to remind you that you’re not yet a complete person.
There are times I laughed even though I didn’t really want to because the comedy in the book comes from a sad place. Each of the Foxman children is mourning, not so much their dad, but where their own lives have (or haven’t) taken them—bad decisions they made, accidents they had no control over, love that feels “completely useless,” or just the relentless passing of time that takes you from the innocence of childhood to the murky quagmire of adulthood, ready or not.
There’s something about coming home that digs all of this up. At the end of the seven days, which equals the end of the book, each character leaves the Foxman home with varying degrees of difference to how they entered it. (As an aside, I think the book’s title works in a number of ways, including the narrator talking to the reader).
I enjoy stories of families and I think that’s why I liked This is Where I Leave You so much. All the Foxmans were so believably messed up and so believably human. And you really want everything to turn out okay for them.
In an interview on The Hollywood Reporter, the journalist asks author Jonathan Tropper, “What do you hope viewers take away from This is Where I Leave You?”
It’s funny, because I never write with any intention of a lesson, I just want to tell a story. But to me, the takeaway from the book and film is that family will save you, whether you want them to or not.
I’m looking forward to watching the movie.