How long is it?
368 pages in the Anchor 2011 paperback edition.

Fiction · Novel · Short Stories · Literary Fiction
About 7 h 15 min · at 30 minutes a day, about 15 days
Estimated from the page count of this edition. Dense books can take longer than the estimate.
Bennie Salazar, a former punk musician turned New York record executive, and his assistant Sasha connect a circle of friends, lovers, and colleagues stretching back to 1970s San Francisco. Bennie struggles with his career and family life, while Sasha discusses her compulsive stealing with a therapist. Their intersecting histories trace ambitions, damaged relationships, and the changes in an industry built around youth.
Thirteen linked stories jump between decades and narrators, moving peripheral characters into the foreground; one unfolds as a PowerPoint presentation. The literary fiction moves between sharp comedy and melancholy, with drug use and sexual abuse among its darker subjects. Following the connections requires attention, and the book offers a succession of lives rather than one continuous plot.
Collected’s assessment, not reader ratings. Complexity runs from 1 (least demanding) to 5 (most demanding).
Highly regarded
368 pages in the Anchor 2011 paperback edition.
Anchor · 2011 · Paperback. ISBN 9780307477477.
About 7 hours 15 minutes at 50 pages an hour, based on the 368-page Anchor edition. Dense books can take longer.
Jennifer Egan is an American novelist and short-story writer whose career also encompasses journalism for The New York Times Magazine. Her fiction moves readily between linked narratives, historical fiction, and experiments shaped by new media. A Visit from the Goon Squad follows a dispersed network of characters across decades and includes a chapter composed as a PowerPoint presentation; Candy House returns to interconnected lives while imagining technology that makes memory searchable and shareable. By contrast, Manhattan Beach uses the atmosphere and social constraints of wartime Brooklyn to frame its characters’ ambitions and loyalties. Across these different modes, Egan is drawn to the pressure of time on relationships, the instability of memory, and the ways institutions and technologies enter private life. Shifting perspectives and structures allow her to show individuals as parts of larger, changing networks. What distinguishes her work is the close fit between method and subject: formal invention is used to test how experience is organized, communicated, and remembered.






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