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62 pages 2 hours read

Gary Shteyngart

Our Country Friends

Gary ShteyngartFiction | Novel | Adult | Published in 2021

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Themes

Parental Legacy in Adulthood

Content Warning: This section contains references to the murder of George Floyd and child abuse.

The cast of characters in Our Country Friends is predominantly connected through relationships built in their younger years. Senderovsky and his wife meet as children while Senderovsky, Vinod, and Karen meet in high school. Each of these characters is the child of immigrants, and their relationships with their parents, defined by moments from their childhoods and adolescences, impact their adulthoods. For the trio of high school friends, their parents’ abuse unites them, and they depend on each other to push forward through dark times. Karen remembers the ways in which they depended on each other during their formative years and how that helps them to be the adults they are today: “And on and on, her own heart breaking alongside his. At their lowest moments, they always overcame their parents’ programming, always offered each other more than they had ever been given” (102). The treatment by their parents instilled in these characters volatile emotions and dim expectations for family, leading them to find solace in each other. During difficult times at home, Vinod, Karen, and Senderovsky turned to each other for the support their parents did not give. Even decades later, the impact of their parents holds firm in their minds, and in times of crisis, like the pandemic, they depend on each other to survive.

The characters seek to work through the harm done by their parents, whether it be the physical violence Vinod experienced at the hands of his father or the emotional abuse Karen suffered from her mother. In their adulthoods, they try to find peace and be cognizant of what their parents instilled in them. For instance, Vinod comments that Karen’s career is her attempt to make peace with her father’s business blunders. Senderovsky’s efforts, however, are more tangible and are represented by the layout of his estate: “Unlike his friends, Senderovsky did not have siblings or a traditional immigrant nuclear family; each bungalow served as a correction to his parents’ and forebears’ panda-like lack of ardor” (119). Senderovsky is expressive and uses his bungalows to recapture one of his favorite times in his life, vacationing with Masha as children. Each bungalow has a unique theme that connects to his personality or a relationship in his life. Throughout his life, he witnesses a lack of passion in his parents’ lives and seeks to lead a life wholly different from theirs. He is over-expressive, endeavoring to complete this architectural project that extends him past his financial limit. He, like Karen, Vinod, and the others, are aware of their parents’ shortcomings and work hard not to follow in their footsteps. This process can be difficult, however, as their parents play a significant part in shaping who they are as people.

While many of the characters in the novel are the children of immigrants and have negative associations with their parents, often described as manifesting from the pressures of immigrant life, Masha has a wholly different experience. Masha’s family came to the US in a different situation and did not experience the same kind of financial stress and prejudice as the families of Karen, Vinod, and Senderovsky. Her parents’ experience being more positive than the others instilled in Masha a completely different outlook:

[S]he could hear in the nonaggression of their language just how minimally humiliated they had been by the immigrant experience. What a stroke of luck that had been for her. Luck she could own, instead of passing on the pain of others to her daughter (236).

Masha does not carry the same kind of trauma and pain as Senderovsky and his friends, making it significantly easier for her to develop a healthy relationship with Nat. Her time as a child and adolescent is filled with memories of satisfied and loving parents, and Masha wants to give Nat the same. The pain inflicted upon Vinod, Karen, and Senderovsky initially leads them to commit to never having children, but Senderovsky breaks that pact when he adopts Nat with Masha. Each of them recognizes the trauma passed down to them from their parents, and struggles to be confident that they would not do the same to their own children.

The Nature of Isolation

Isolation and loneliness are defining features of the COVID-19 lockdowns that the characters in Our Country Friends must wrestle with. These feelings of isolation are not solely brought on by the pandemic but are manifestations of underlying issues in the characters’ lives. Many of their past experiences instill in them the sense of being isolated as well as expectations of loneliness. It is through their time together, however, that they confront and seek to remedy these feelings. Dee is one of the first characters to confront her feelings of isolation and realize that, though they seem to arise because of the quarantine, the root of the issue runs deeper: “Her predicament was starting to feel personal. She had friends, but they seemed more interested in reaching out to one another than to her at this difficult time. Perhaps they had never thought of her as trustworthy” (41). Dee sees her neighborhood in Brooklyn slowly shut down, making her life in the city one of isolation, but while her friends seek to strengthen their group with communication, she is left out. In this time of communal stress, Dee is forgotten, making her question the strength of her friendships. This deeper sense of loneliness and isolation is brought on by the pandemic, and she continues to struggle with these feelings even as she joins Senderovsky’s group and seeks to build relationships with them.

Dee is the youngest guest at the House on the Hill, and her loneliness takes a different shape than some of the older visitors. Vinod, approaching 50, has much more experience with feelings of isolation and even feels accustomed to such feelings, making them a natural part of his life. He expresses his familiarity with the feelings of isolation and uses them to define his life: “The older I get, the more I delight in the people who orbit parallel to me but remain always out of reach. My friends, the writers I admire, and, especially, my one love” (133). Vinod is isolated for much of his adult life, never publishing his novel and never earning the love of Karen back (until that changes over the course of the novel). He becomes accustomed to this isolation, makes peace with it, and lives with it rather than fighting against it. He sees how much more successful Karen and Senderovsky are and how the more success they earn, the more infrequent their contact with him is. He does not allow the loneliness to define him or drag him down. His coexistence with his isolation from the group is a part of his life. He does not hide it and proudly expresses his love for Karen. In their shared isolation during the pandemic, this love blossoms, and for the first time, before he dies, he experiences a life away from the isolation that plagued him for so long.

In the final months of his life, Vinod lives with Karen and finally lives out his dream of being with her. Karen, after so many years of never returning his love, finds herself falling for him. It is their cohabitation, the life Vinod wants, that eventually kills him. When Karen falls ill, she isolates herself within their bungalow, but Vinod, having experienced the life he dreamed of, cannot accept even this small amount of isolation: “Once again, as it had been for most of his life, they were together while being apart” (260). This relatively small and temporary separation proves too much for Vinod, and he, despite being particularly at risk for COVID-19, refuses to comply with the isolation, kissing Karen while she sleeps, leading to his own infection and eventual death. While Vinod grows used to isolation in his life and can live with it, once it is gone, he cannot go back. Isolation takes a toll on the characters, and while it is livable, companionship and company lift the characters up, and once they experience it, they are more aware of loneliness and isolation and will act in ways that can be detrimental to prevent themselves from feeling isolated again.

Tension Between Rural and Urban Residents

One of the more unique and interesting aspects of Our Country Friends is the contrast between the characters and the setting. This group of relatively wealthy, liberal people from New York City stays in rural New York, a conservative area of the state. This creates tension between them and the community around them that can be seen through interactions with town residents and the outward display of conservatism in the form of political signs. Some characters, like Karen, notice the differences immediately upon arrival:

It seemed almost impossible that the owners of the broken houses she had seen up the road, “shitbox Federals,” as Ed had once described them in his Ed way, could breathe in the same rich country air as Sasha and some of his neighbors (19).

Karen identifies a stark contrast between the likes of Senderovsky and others around him based on their socio-economic status. The neighborhood that his house is in is a mix of wealthy New Yorkers’ second homes and the run-down first homes of locals. She is shocked by the contrast in their identities and the equal access they have to the area. Senderovsky is clearly paying more to reside here than the local town residents and enjoys the area in a different way than they do. While they live and work in the area, Senderovsky, his friends, and his family vacation there, making their time in the town fundamentally different.

The primary way in which the tensions between the group and the town are revealed is by political signs. Masha expresses concern after hearing of far-right and antisemitic posters at the train station and tells her guests that the locals are pretty conservative. Dee witnesses the conservatism of the town residents as she walks along the road near the house:

Dee noticed an American flag done up in black, blue, and white, which also connoted a far-right disposition, fluttering from the back of a stationary black pickup truck. Maybe Masha wasn’t entirely wrong about the content of this particular neighborhood (91).

The group’s actual interactions with townsfolk are limited throughout the novel, so their conception of who the townspeople are is influenced by this outward display of political affiliation as well as their own stereotypes about this demographic. Many of the characters see right-wing support surrounding the houses of locals and therefore associate these rural residents with conservative politics. Conversely, the second homes of New Yorkers display competing ideologies, further separating the two groups: “The sun returned as soon as they entered the liberal estates section of the road, where hate had ‘no home’” (92). This side of the neighborhood not only boasts liberal slogans but is also described as housing estates rather than the rundown homes described earlier. There is a clear divide between the two sides of the neighborhood politically, and it follows the divide of town locals and city visitors.

The signs and slogans of the conservative locals begin to spread as the pandemic lengthens and Black Lives Matter protests following the murder of George Floyd spread. This creates more severe tension with the group as they feel more politically isolated and also more vulnerable as a diverse group in this rural setting. As Senderovsky sees more and more conservative iconography, he begins to wonder about a possible confrontation:

Imagine what it would take for Senderovsky, the owner of the largest (by area) estate on the road, to ring that doorbell (after evading the dogs) and demand (beg?) for the flag to be taken down? What would he say? ‘Sir, it offends me’? ‘Sir, I’m scared.’ The whole point was to offend him. The whole point was to make him scared (187).

Senderovsky realizes that the flags and slogans are not merely an expression of political belief but a tactic used to express tension between the residents and the city visitors. There is an ideological line drawn between the two groups and the use of conservative signs and flags is a tactic meant to agitate and scare the likes of Senderovsky, his group, and others like them. This results in two communities forming within the town limits. There are the conservative locals unhappy with national politics and the presence of liberal city-dwellers, and there are the people escaping the city for rural areas who are politically opposed to their rural neighbors.

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