Publishers Weekly
The attorney Tim Farnsworth seems to have it all—a perfect wife, a loving daughter, rewarding and meaningful work—but the return of a mysterious disorder out of The Red Shoes (at any time of day, Tim is compelled to walk until he passes out with exhaustion) threatens to shatter everything he has built. Ferris delivers an understated reading that is all the more moving for its subtlety. His voice is calm—but it's a controlled calm suggestive of the Farnsworth family's terror and their struggle to assert order over the increasing anarchy. Ferris commands without volume or theatrics and his is a sincere, quiet, and moving performance. The audio features a not-to-be-missed interview with the author, in which he analyzes his writing process and offers his own take on the novel. A Little, Brown/Reagan Arthur hardcover (Reviews, Nov. 16). (Jan.)
Library Journal
Ferris's title refers to an unidentifiable disease that compels protagonist Tim, with no warning, to walk compulsively, no matter the distance or time of day. His disease, which is unpredictable and has affected him for many years, keeps Tim's wife, Jane, and daughter, Becka, in a state of alert and constant anxiety. While much of the novel is about marriage, commitment, and family illness, readers are gradually taken into uncharted territory. It becomes apparent that Tim's disease is a metaphor for man's inherent lust to wander. The motivation for this lust is unclear, but that's what makes the novel interesting as it stimulates readers to formulate their own interpretation. Ferris (Then We Came to the End) is adept at characterization: Jane may be devoted to her ill husband, but she still has her weak moments, which make her character very human. VERDICT Ferris is an intrepid writer—he doesn't provide a solution (there's no cure for Tim)—but he does explore all of the consequences. Highly recommended. [See Prepub Alert, LJ 9/15/09.]—Victor Or, Surrey P.L. & North Vancouver City Lib., B.C.\
Kirkus Reviews
A successful lawyer finds himself blindsided by a mysterious affliction in Ferris' sophomore effort, an even more ambitious and provocative novel than PEN/Hemingway Award winner Then We Came to the End (2007). Tim Farnsworth's condition has no name (hence the title), and it may disappear for years at a time, but when it returns, Tim feels compelled to walk with no destination, to the point of exhaustion, abandoning all responsibilities of work and family until the disease disappears as mysteriously as it has arrived. With echoes of Samuel Beckett, Tim explains the inexplicable, "You go on and on. Your one note gets repetitive, it's taxing." And some readers might well find this novel taxing in its repetition-as taxing as Tim's wife, Jane, finds dealing with her husband as she also battles first alcoholism and then cancer. As in the author's first novel, office politics play a part here, and there's a deft interweave of the comic and the tragic, but ultimately this dark narrative permits only one ending. With Tim and his doctors trying to determine whether his problem is physical or mental, the book can be read as a parable of addiction or any other condition that refuses to recognize a distinction between mind and body. Or simply as a meditation on the human condition, an evocation of "the ordinary banality of endurance" beneath "the blank expression of eternity." This is Ferris' Something Happened-appropriately enough, since some reviews of Then We Came to the End invoked Catch-22-defying in its very premise "the rigid orthodoxies of cause and effect!" upon which most fiction depends. Audacious, risky and powerfully bleak, with the author's unflinching artistry its saving grace.
From the Publisher
"Arresting, ground-shifting, beautiful and tragic. This is the book a new generation of writers will answer to. No one in America writes like this."—Gary Shteyngart, author of ABSURDISTAN and THE RUSSIAN DEBUTANTE'S HANDBOOK
"Heartfelt and delivered in solemn deadpan. It may even be, in its own modest way, a great American novel. "—Los Angeles Times
"Fabulous....with the sort of exuberance and energy that marked Jay McInerney's Bright Lights, Big City."—Chicago Tribune
"Audacious, risky and powerfully bleak, with the author's unflinching artistry its saving grace."— Kirkus Reviews
"Ferris imbues his story with a sense of foreboding, both for the physical world, in the grip of record-breaking temperatures, and for the vulnerable nuclear family and its slow unraveling. With its devastating metaphoric take on the yearning for connection and the struggles of commitment, Ferris brilliantly channels the suburban angst of Yates and Cheever for the new millennium."—Booklist, starred review
"Rich and profound."— Time
"Unfold[s] in a hushed, shadowed dimension located somewhere between myth and a David Mamet play."— Salon
"An unnerving portrait of a man stripped of civilization's defenses. Ferris's prose is brash, extravagant, and, near the end, chillingly beautiful."— The New Yorker
"Astonishing and compelling."— Very Short List
"Ferris puts his notable wit and observational ability aside in favor of a far more psychological (and ultimately physical) examination of the self. . . . an accomplished and daring work by a writer just now realizing what he is capable of creating."— The Los Angeles Times
"[Ferris is] a brilliant and funny observer."— The New York Times
"Ferris shows a talent for the grotesque in his riveting descriptions of Tim's decline. He also includes his specialty - scenes of juicy office intrigue. But what's most engrossing in his portrait of a couple locked in an extreme version of a familiar conflict - the desire to stay together versus an inexplicable yearning to walk away."— O Magazine
"You can't break away from the grip of these opening chapters . . . Ferris usually writes in a steady, cool voice whether delivering the quotidian details of office work or existential observations about God that would otherwise sound grandiose. The effect is a terrifying portrayal of intermittent mental illness, the way the fear of relapse becomes a kind of specter, mocking each recovery and shredding any hope of a cure."— The Washington Post
"Strange and beguiling . . . With this brave and masterful novel, Ferris has proven himself a writer of the first order. The Unnamed poses a question that could not be more relevant to the America of 2010: Will the compulsions of our bodies defeat the contents of our souls?"— The Boston Globe
"Riveting."— The Wall Street Journal
"Where Then We Came to the End mined the minutiae of cubicle life for humor and pathos, this one goes straight for the heart(and the jugular), telling the story of a married father struggling with an inexplicable disease, and thelengths to which he'll go to maintain control of his life."— GQ
"At once riveting, horrifying and deeply sad, The Unnamed, like Tim's feet, moves with a propulsion all its own. This is fiction with the force of an avalanche, snowballing unstoppable until it finally comes to rest-when we come to the end, so to speak."— The San Francisco Chronicle
"There is beauty in Ferris' writing, even when charged with despair."—The Chicago Sun-Times
"Mr. Ferris is wise enough not to teach a lesson. Rather, he has teased ordinary circumstances into something extraordinary, which is exactly what we want our fiction writers to do."— The Economist
"The Unnamed is ambitious, intelligent, and even more complex than Ferris's debut novel, Then We Came to the End."— Christian Science Monitor
"Bracingly original . . . Surprisingly, almost tenderly, and despite his unrelenting refusal to churn out a predictable happy ending, [Ferris] turns The Unnamed into a most unorthodox love story about commitment and sacrifice."—The Miami Herald
"Ferris' distinctive writing style is serious but whimsical, philosophical with a touch of the absurd."—St. Petersburg Times
Ain't It Cool News
"It's something to behold, this book...a breathtaking debut."
St. Petersburg Times
"Ferris' distinctive writing style is serious but whimsical, philosophical with a touch of the absurd."
The Miami Herald
"Bracingly original . . . Surprisingly, almost tenderly, and despite his unrelenting refusal to churn out a predictable happy ending, [Ferris] turns The Unnamed into a most unorthodox love story about commitment and sacrifice."
Christian Science Monitor
"The Unnamed is ambitious, intelligent, and even more complex than Ferris's debut novel, Then We Came to the End."
The Economist
"Mr. Ferris is wise enough not to teach a lesson. Rather, he has teased ordinary circumstances into something extraordinary, which is exactly what we want our fiction writers to do."
The Chicago Sun-Times
"There is beauty in Ferris' writing, even when charged with despair."
The San Francisco Chronicle
"At once riveting, horrifying and deeply sad, The Unnamed, like Tim's feet, moves with a propulsion all its own. This is fiction with the force of an avalanche, snowballing unstoppable until it finally comes to rest-when we come to the end, so to speak."
GQ
"Where Then We Came to the End mined the minutiae of cubicle life for humor and pathos, this one goes straight for the heart (and the jugular), telling the story of a married father struggling with an inexplicable disease, and the lengths to which he'll go to maintain control of his life."
The Wall Street Journal
"Riveting."
The Boston Globe
"Strange and beguiling . . . With this brave and masterful novel, Ferris has proven himself a writer of the first order. The Unnamed poses a question that could not be more relevant to the America of 2010: Will the compulsions of our bodies defeat the contents of our souls?"
The Washington Post
"You can't break away from the grip of these opening chapters . . . Ferris usually writes in a steady, cool voice whether delivering the quotidian details of office work or existential observations about God that would otherwise sound grandiose. The effect is a terrifying portrayal of intermittent mental illness, the way the fear of relapse becomes a kind of specter, mocking each recovery and shredding any hope of a cure."
O Magazine
"Ferris shows a talent for the grotesque in his riveting descriptions of Tim's decline. He also includes his specialty - scenes of juicy office intrigue. But what's most engrossing in his portrait of a couple locked in an extreme version of a familiar conflict - the desire to stay together versus an inexplicable yearning to walk away."
The New York Times
"[Ferris is] a brilliant and funny observer."
The Los Angeles Times
"Ferris puts his notable wit and observational ability aside in favor of a far more psychological (and ultimately physical) examination of the self. . . . an accomplished and daring work by a writer just now realizing what he is capable of creating."
Very Short List
"Astonishing and compelling."
The New Yorker
"An unnerving portrait of a man stripped of civilization's defenses. Ferris's prose is brash, extravagant, and, near the end, chillingly beautiful."
Salon
"Unfold[s] in a hushed, shadowed dimension located somewhere between myth and a David Mamet play."
Time
"Rich and profound."
starred review Booklist
"Ferris imbues his story with a sense of foreboding, both for the physical world, in the grip of record-breaking temperatures, and for the vulnerable nuclear family and its slow unraveling. With its devastating metaphoric take on the yearning for connection and the struggles of commitment, Ferris brilliantly channels the suburban angst of Yates and Cheever for the new millennium."
author of ABSURDISTAN and THE RUSSIAN DEBUTANTE'S Gary Shteyngart
"Arresting, ground-shifting, beautiful and tragic. This is the book a new generation of writers will answer to. No one in America writes like this."
AudioFile
"There isn't a moment when Ferris the reader loses one's attention to what Ferris the writer has to say."
FEBRUARY 2010 - AudioFile
For those skeptical of authors narrating their own works, Exhibit A for the defense might justifiably be Joshua Ferris and his engrossing second novel. Of course, he’s perfectly attuned to the nuances and emotional undulations of his story, which concerns the consequences for a lawyer and his family as he succumbs to a mysterious illness that causes him to abruptly undertake long walks in a state of catatonia. Best of all is Ferris's perfectly rendered performance of the story’s dialogue, complete with its false starts, misunderstandings, distractions, and everything else that comprises the way we actually talk to each other. There isn't a moment when Ferris the reader loses one’s attention to what Ferris the writer has to say. M.O. © AudioFile 2010, Portland, Maine