44 pages • 1 hour read
Jonathan LethemA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Lionel Essrog, a thirty-something aspiring detective living in Brooklyn, introduces himself to the reader first by explaining his affliction, Tourette’s syndrome: “[W]ords rush out of the cornucopia of my brain to course over the surface of the world, tickling reality like fingers on piano keys” (1). Lionel, along with Gilbert Coney, is on a stakeout for Frank Minna, a charismatic smalltime hood who, more than 20 years earlier, recruited Lionel, Gilbert, and two other boys from an orphanage to do odd jobs. In that time, Frank became a surrogate father to the four boys, known collectively as the “Minna Men.” He employs them through his company, L&L, ostensibly a moving service and later a car service, although the businesses are likely fronts for less savory enterprises.
The stakeout is not in the familiar environs of Brooklyn. Frank directed Lionel and Gilbert to watch a building in Yorkville in the swanky Upper East Side of Manhattan. The building serves as a Buddhist meditation center, or Zendo. Neither Gilbert nor Lionel has any clue why Frank wants the building cased. As the two munch through a bag of White Castle sliders, however, Frank himself taps the car window. He wants Gilbert to stand watch at the front door of the Zendo and equips Lionel with a headset. Frank himself will wear a wire. He says he is meeting someone in the Zendo and wants back-up should something (Lionel is not clear what) go wrong. Lionel listens intently while Frank enters the building. The reception is spotty. Lionel notes the fragments of conversation he hears, but the arrival of a young girl with short cut black hair and glasses momentarily distracts him as she enters the Zendo.
Frank suddenly comes out accompanied by a tall man Lionel does not recognize. Lionel surmises that Frank has a gun against his back as the giant shoves Frank into a waiting car. The ensuing chase is comically executed—first the two cars get snarled in heavy traffic, and then Lionel and Gilbert are stopped at a toll gate going through the Midtown Tunnel (while the kidnappers have EZ Pass). The cars separate, but Frank relays clues about where the car is going: a sheet metal company in Queens. The two rush there.
Lionel and Gilbert park and begin scouring for the car. Lionel spies Frank’s wire tossed on the sidewalk and, in quick order, finds Frank, beaten and bloodied, in a dumpster. They pull Frank out and head to the nearest hospital. On the way, Frank refuses to explain what happened and instead directs Lionel to tell a joke. Frank is unconscious by the time they arrive. After tense minutes, a doctor comes out and confirms that Frank has died. Shocked, Lionel and Gilbert decide not to linger, fearing the arrival of cops.
Lethem introduces Lionel Essrog, the narrator, but provides no backstory for him or for the other key characters. As with any detective fiction, we begin surrounded by mysterious, menacing events we do not understand, a sense of foreboding, and threats that we cannot account for. In this way, Lethem invites readers to become amateur sleuths alongside Lionel as he struggles to learn who killed his mentor and why. The key to the first chapter then is our sudden rude introduction into the concept of mystery.
The mood is further enhanced by the deadpan voice-over, a familiar convention in detective novels and films. Because Lionel is himself a would-be detective who is as puzzled as we are by the sudden unfolding events, we share his introduction to the underworld of violence and murder. The first chapter both sets up and lampoons the detective novel. The car chase itself is a hilarious send-up of the familiar premise of an adrenaline-charged chase. This is both a detective story and a parody of one.
While the circumstances of Lionel’s stakeout and the elements of the crime are unclear, Lethem elucidates Lionel’s disability. From the first page, Lionel announces: “I’ve got Tourette’s.” This opening chapter then defines the novel’s counter-narrative, an investigation into how the brain works, and how sounds come to shape language itself. With Lionel as the narrator, Lethem simultaneously sets up a narrative at war with itself and introduces the theme of the brain versus the mind. Although the narration itself is accessible, with elegantly styled sentences, Lionel explodes into a torrent of language when emotionally taxed. This gives the reader an inside view of Tourette’s syndrome, and the juxtaposition creates the narrative’s defining tension. Motherless Brooklyn is not only a whodunnit but as well a whotellsit.
By Jonathan Lethem