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Take Five (American Literature) Paperback – September 1, 1998

4.4 out of 5 stars 8 ratings

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Welcome to the world of Simon Lynxx and to one of the great overlooked novels of the 1980s. Con-man, filmmaker (currently working on producing Jesus 2001, what he calls the religious equivalent of The Godfather), descendent of a wealthy and prestigious New York family whose wealth and prestige are in sharp decline, racist and anti-Semite (though Simon dislikes all ethnic groups equally), possessor of never-satisfied appetites (food, women, drink, but most of all, money and more money), and the fastest talker since Falstaff, Simon is on a quest that goes backwards. Through the course of this 600-page novel, Simon loses, one by one, all of his senses, ending in a state of complete debilitation through which he is being made ready for eternity and possible salvation.
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From Library Journal

This Joycean romp follows protagonist Simon Lynxx, who during the course of the story loses his senses one by one. LJ's reviewer dubbed the book "an unpredictably tough and funny affirmation of life as it comes" (LJ 5/15/82).
Copyright 1998 Reed Business Information, Inc.

About the Author

D. (David) Keith Mano graduated summa cum laude from Columbia University in 1963. He spent the next year as a Kellett Fellow in English at Clare College, Cambridge, and toured as an actor with the Marlowe Society of England. He came back to America in 1964 as a Woodrow Wilson Fellow at Columbia. He appeared in several off-Broadway productions and toured with the National Shakespeare Company. Mano married Jo Margaret McArthur on 3 August 1964, and they had two children before their divorce in 1979. Mano left the Episcopal church for the Eastern Orthodox in 1979. He died in 2016 in New York City.

Product details

  • Publisher ‏ : ‎ Dalkey Archive Press (September 1, 1998)
  • Language ‏ : ‎ English
  • Paperback ‏ : ‎ 582 pages
  • ISBN-10 ‏ : ‎ 1564781933
  • ISBN-13 ‏ : ‎ 978-1564781932
  • Item Weight ‏ : ‎ 1.75 pounds
  • Dimensions ‏ : ‎ 6.04 x 1.34 x 9.05 inches
  • Customer Reviews:
    4.4 out of 5 stars 8 ratings

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4.4 out of 5 stars
8 global ratings

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Top reviews from the United States

  • Reviewed in the United States on October 17, 1998
    After reading this book, I handed it to my very well read brother who said "that is the sadest book I have ever read." It is, and it is not. It is a creative tour-de, like a more restrained and elemental Barthelme. It reminds me (as does the death and life of harry goth) of Confederacy of Dunces...I think Mano is just a brilliant writer.
    9 people found this helpful
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  • Reviewed in the United States on September 27, 2015
    "Take Five" is one of those enormously ambitious, endlessly inventive, compulsively readable, yet equally--though not, perhaps, fatally--flawed novels the culminating noble failure of which renders it both a more compelling work and rewarding read than 99% of those so-called successes that, if less flawed, are, by comparison, utterly dwarfish. Which is why Dalkey Archive is to be commended for resurrecting it fully 16 years after its initial publication in the hope of attracting to it the wider audience it failed to attract then, but so clearly deserves now.

    A jam-packed, turbo-charged, doorstop-massive, acrobatically entertaining, 3 1/2-star, over-the-top high-wire act, with respect to its voice and aesthetic sensibility the book bears less affinity to the work of William Gaddis, much less James Joyce--the names typically invoked--than to Tom Wolfe or John Irving i.e. it's tres smart and engaging as hell, but it ain't, sorry folks, Art.

    While there is little question that the work catches fire--indeed it breathes the stuff, blazes brightly, perhaps too brightly throughout--chiefly owing to the author's similie/metaphor-generating portrayal of its rampaging, scenery-chewing, hyper-articulate, larger-than-life, hyperbolically solipsistic protagonist whose non-stop wisecrackery and over-caffeinated, free-associating DJ patter is over 600 pages akin to being trapped in a broadcast booth with Robin Williams on a cocaine toot, it can be argued that the heat that that fire expresses too often distracts from the light it aspires to give off. Despite the applause its author merits for both his creative risk-taking and expansiveness of vision, the work, finally, fails to transcend itself, to realize that integral organic quality of MORE-ness of purpose that ultimately defines the Real Deal. Which, I suppose, is just a wordier way of saying that the author's reach, which is nothing if not considerable, exceeds his scarcely less considerable grasp.

    At last, despite its several estimable qualities, not least of which are its good humor, apparent erudition, and palpable energy, the work must stand or fall on whether one "buys" the character of Simon Lynxx, not only as plausibly or implausibly drawn by his creator, but as the proper or improper vessel for the Christ-figure to which he is reduced--each of his five senses having one by one been destroyed--by story's end. Does the reader, that is, care enough to fully empathize with Simon's extravagant suffering and self-torture, or does that reader find the suffering of such a figure merely insufferable, his torture merely self-indulgent.

    "Take Five" is a tour de force. Regrettably, it too often and too transparently huffs, puffs and strains for effect for the performance to be declared other than a brilliant mess.
    2 people found this helpful
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  • pynchon10
    5.0 out of 5 stars Five Stars
    Reviewed in the United Kingdom on June 28, 2015
    thanksyou