I enjoyed reading Commonwealth: I was engaged all the way through. But I was never gripped by it. I kept waiting for it to go deeper, or get darker, and it just stayed the same: the prose is cool, almost detached, the diffuse ingredients assembled with that air of meaningful randomness that seems to govern a lot of contemporary novels. Why this detail, this memory, this connection, right now? Why tack back into the past at this point, and then skip forward again? Where are we going? The transparent assumption is that simply laying out the story in chronological order isn’t interesting or artful enough, and that can certain be true. Also, sometimes things are dispersed like this so that the climax or revelation comes upon us unexpectedly, or so that the crisis is discerned in its effects before it actually breaks over us, the readers. That’s sort of what goes on in Commonwealth, but maybe because I’m rereading Bleak House right now, I felt a lack of central purpose in Patchett’s novel: I’m fine with a lot of moving parts, but I didn’t feel hers were in service of a deeply felt meaning.
To be fair, I don’t actually think Commonwealth is a swing and a miss at a more profound type of novel. It’s a novel about family drama, so relatively small in scale, and it is sharp in its insights into the ways people come together and move apart. Even allowing for that, I do think Commonwealth isn’t really excellent of its kind. There is a crisis at the heart of Commonwealth — two, I suppose, a tragedy and its exposure — but Patchett never made either of them feel urgent to me. I was interested, sometimes amused, sometimes touched, by the tangle of family relationships Commonwealth presents — and nothing more. This can be enough, of course: there are plenty of books I like a lot that are similar. Is that the real problem, maybe? that Commonwealth slots in too easily in among many similar novels by, say, Anne Tyler or Joanna Trollope? To me, it didn’t really seem to stand out either stylistically or thematically: its effect on me is already fading.
I’m uneasy about my own experience of Commonwealth, as you can probably tell, especially as I only just wrote a much more forgiving post about A Spool of Blue Thread. In that post I explicitly welcomed the familiarity of Tyler’s novel — and here I am complaining, if mildly, because Commonwealth didn’t provoke, startle, or particularly delight me. There’s nothing with perfectly good novels! I like family dramas, too: we need them, and not just because a steady diet of books like The Orphan Master’s Son, or King Hereafter, or Hild, or Wolf Hall would be debilitatingly rich. I’m a firm believer in the significance of small-scale stories. Their importance can be harder to discern at first, though. I didn’t really appreciate Unless until I reread it: maybe it will be the same way with Commonwealth.