HOPE

Over the course of a year, an affluent Jewish family implodes.

When Scott Greenspan, a cardiologist overseeing a clinical trial, starts falsifying blood samples, his intentions are more or less (rather less) innocent. He’s just lost a lot of money on an investment he kept secret from his wife, and in the meantime, he needs to make a payment on his mother’s expensive retirement home. Scott’s “whole life,” Ridker writes, “he’d been climbing a ladder to respectable living….He’d proceeded with caution, taking the slow route, secure in the knowledge that the world would reward his patience as it had rewarded his hard work and intellect.” The ease with which he can cheat comes as a revelation. Scott is caught, of course, and the repercussions of his actions, for himself and his entire family, inform Ridker’s engaging but uneven novel. In alternating chapters, Ridker visits each family member, including Scott’s wife, Deb, who has suggested that the two open their marriage; Maya, their daughter, who works an entry-level position at a prestigious publishing company; and Gideon, their son, who had planned on applying to medical school but now, in the wake of his father’s misconduct, flails about, uncertain how to proceed. Ridker clearly owes a debt to Jonathan Franzen, whose influence is plain. But each of Ridker’s points of satire—busybody suburban housewives, predatory high school teachers, the publishing industry as a whole—is too predictably on-the-nose to be funny or surprising or fresh. Sometimes the satire veers into the slapstick. At one point, for example, a housewife on one of Deb’s many volunteer committees says, “We have a protocol for this.” She goes on, “But I can’t remember what it is.” And while Scott and Gideon feel more or less like full-fledged characters, Deb and Maya most assuredly do not.

The novel covers well-traveled terrain with few surprises.