Panama

Chet Pomeroy, former bombastic rock star, current disturbed and sometimes manic resident of Key West, self-described “angler on the sea of God’s mysteries” is dealing with failure, substance issues, his aunt/stepmother’s impending marriage to a gold-digger, police harassment, memory problems, and trying to regain the love of Catherine, who he apparently married some time back in Panama. Also, his father - “everything I say about my father is disputed by everyone” is apparently alive and trying to contact Chet, although Chet firmly believes he’s dead, but Jesses James is alive.

Chet is recognized early on as an unreliable but basically truthful narrator. “I am considered a tribute to evil living.” But he’s likeable in show more a highly intelligent, highly flawed manner. McGuane’s language is lyrical, poetic at times, very clever, and humorous. He bends sentences in beautifully disturbing ways. show less

PERFECT ENDING IS PERFECT.

Reading this book I felt like I had a fever dream while riding a roller coaster. Chet, the most unreliable of narrators won me over, and in his incessant lies and flawed memories I found incredibly resonant truths. It's a fine, fine ache.

Chester Hunnicut Pomeroy, a washed-up rock star, returns home to Key West and tries to win back the good graces of his love, Catherine. His memories are fragmented and the local cops have it in for him. And although he wants to make good, he just can't stop being himself.

Panama is McGuane's only novel written in the first person, and marks a break between his early novels (The Sporting Club, The Bushwhacked Piano, 92 in the Shade) and his Montana novels. Its overall critical reception wasn't warm; McGuane was known for living a wild life, and this novel was perceived as a self-serving, autobiographical apologia. Besides, he'd gone to Hollywood, and the literary establishment doesn't approve of Hollywood.

The poor reviews weren't show more justified. Set aside Hollywood and autobiography, and Panama emerges as one of McGuane's best. The writing sparkles, and Pomeroy is a funny and sympathetic figure despite his myriad faults. McGuane has said that, after 92 in the Shade, he felt that the flash in his writing had obscured the seriousness of his intent, and consequently he set out to write more seriously. In Panama, McGuane ceases to be a smart-aleck, and sets off in a new direction, with brilliant results. show less

Funny, vibrant, yet repetitive---a funny experiment in voice and perception, with a hangdog narrative based around a down-and-out rocker's drug-addled thoughts.