All the Sad Young Literary Men

By: Keith Gessen

Narrated by: Ari Fliakos

By the author of A Terrible Country and Raising Raffi, a novel of love, sadness, wasted youth, and literary and intellectual ambition—"wincingly funny" (Vogue)

Keith Gessen is a brave and trenchant new literary voice. Known as an award-winning translator of Russian and a book reviewer for publications including The New Yorker and The New York Times, Gessen makes his debut with this critically acclaimed novel, a charming yet scathing portrait of young adulthood at the opening of the twenty-first century. The novel charts the lives of Sam, Mark, and Keith as they overthink their college years, underthink their love lives, and struggle to find a semblance of maturity, responsibility, and even literary fame.

©2008 Keith Gessen (P)2024 Penguin Audio

Critic reviews

“Gessen proves himself not only a capable observer but a natural novelist with a warm gun . . . [and] a nice comic sureness. . . . Gessen’s style is good-natured and ripe enough to allow a satisfying sweetness to exist in these characters.”—Andrew O’Hagan, The New York Times Book Review (Editors’ Choice)

“[Gessen’s] achingly comic command of the hopes, vanities, foibles, and quandaries of his peers has produced something better than fashionably maneuvered satire. It is irony (of a rare cosmopolitan sort) that this Russian-born writer brings to the New York scene, a pond that takes itself to be the ocean. He evokes the world’s culture along with our own.”—Richard Eder, Los Angeles Times

“Beginning with its risky yet playful title, All the Sad Young Literary Men is a rueful, undramatic, mordantly funny, and frequently poignant sequence of sketchlike stories loosely organized by chronology and place and the prevailing theme of youthful literary ideals vis-à-vis literary accomplishment. . . . Transposed to theater it would be not a conventional play in three dimensions intent upon simulating life, but an evening of linked monologues delivered with droll, deadpan humor and melancholy irony, with, perhaps from time to time, images of historic figures projected against the back of the stage. . . . The predicament of Gessen’s characters, as it is likely to be the preeminent predicament of Gessen’s generation, is the disparity between what one has learned of history and the possibilities of making use of that knowledge in one’s life.”—Joyce Carol Oates, The New York Review of Books