THE LONG CORNER

A young man wrestles with his artistic soul at the retreat of an enigmatic art patron.

In 2017, as he reaches his mid-30s, writer Solomon Fields has abandoned a promising journalistic career for the financial security of a spirit-crushing job in the advertising industry and a relationship with a young woman named Charity whose life is bound up in the striving of materialist culture. He also feels trapped between the clashing worldviews of his maternal grandmother, Lina, a Holocaust survivor and advocate for seizing the pleasures of life and art, as she did after fleeing Berlin for New York City in 1940, and his mother, Charlotte, a Marxist-turned-conservative and passionate defender of Israel. At the invitation of a woman named Plume, he travels to a tropical island where her employer, the mysterious Sebastian Light, has created a haven for artists he calls The Coded Garden. When Sol arrives, he meets people with names like Crystalline and Siddhartha, at first observing and then participating in the retreat’s curious rituals, including one bacchanalian evening in a sweat lodge, all the while fending off persistent questions by the residents about whether he intends to write about them. There are recurring conversations about the meaning of art and frequent flashbacks to moments in Sol’s relationship with Lina, one that’s much closer than his with Charlotte. Though the questions Maksik raises are provocative ones, the novel too often has a static feel as Sol struggles to solve the riddle of whether Light is a sincere patron of aspiring artists, a pretentious charlatan, or something much more sinister. While the portrait of Sol’s colorful and outspoken grandmother is vibrant and entertaining, Light and his acolytes in The Coded Garden too often feel more like devices for advancing competing arguments than fully realized fictional characters.

The spark of a story about the challenges of a creative life fails to catch flame.