Reviews

334 by Thomas M. Disch

foolish_shane's review against another edition

1.0

So I bought this book around 16 years ago when I first moved to Florida. At the time I was a working on a huge tracking project that had the project code 334. This project is what allowed me to move to Florida and keep my job, because no one else was familiar with the project, so my company had to let me work from home. Anyway, I thought the connection was interesting.

Unfortunately, I finally started reading it (long after project 334 had ended and I changed jobs) and didn't like it at all. When I was younger and had a lot more time I might have given it more of a chance, but instead I got to page 35 before giving up because I just didn't understand anything that was going on. There were also some pretty disgusting scenes that seemed gratuitous.

nancyadelman's review against another edition

1.0

This is a speculative, partly sci-fi book about life in NYC in 2022. The book was written in 1974 and does not hold up well to the lens of time. Mr. Disch had lots of interesting ideas. The idea for this book is a large apartment building housing thousands of people and each chapter is a different story about a different group of people. I have tried to read this book twice now and this time made it to about 80 pages. It's just not interesting and doesn't hold my attention.

glenncolerussell's review against another edition

5.0

“The end of the world. Let me tell you about the end of the world. It happened fifty years ago. Maybe a hundred. And since then it's been lovely. I mean it. Nobody tries to bother you. You can relax. You know what? I like the end of the world.”
― Thomas M. Disch, 334

Thomas M. Disch’s 1974 novel, a mix of science fiction and Zola-like social realism, eyeballs 334 East 11th Street, New York City, home to a teeming mass of miserable, poverty-stricken occupants of a 21st century multistory apartment beehive - Thomas Hobbs's philosophy of life as nasty, brutish, and short on a continual supply of amphetamines. Sorry to report, much of Disch's disturbing futuristic world has become harsh reality for huge chunks of our current-day population.

Forty-eight chapters, five long and forty-three short, feature interlinking snapshosts of a dozen or so men and women bound by their common plight of sordidness and desperation. To share a glimpse of what a reader is in for, below are commentary on two of the chapters: first, a longer one, a tale about college student Birdie Ludd in battle with the forces of darkness; and the second, a shorter tale, a vivid sketch of an outing at a most unusual art exhibit:

THE DEATH OF SOCRATES
Birdie Ludd has finally made it out of high school (P.S. 141) into one of New York City’s colleges only to sit in class listening to a professor on a TV yack nonstop about the life of Dante and how nearly everyone according to the Italian author’s Inferno will be tormented in hell, most certainly all the Jews.

When a Jewish girl in the class says that doesn’t seem fair, the professor’s assistant simply replies there will be a test on the covered material. As Birdie is quick to recognize, none of what he is being force fed has any relevance to his everyday life and since teaching is done by television, there is absolutely no possibility of dialogue or a lively interchange of ideas; rather, he is required to simply swallow and regurgitate what he is given.

Summoned to the front office, a Mr. Mack informs Birdie his score on the mandatory state test of “twenty-seven” was a mistake and Birdie is now being reclassified as a “twenty-four,” which means he will not be allowed to father any children. Poor Birdie! He complains it isn’t his fault his father has diabetes. But we learn there are more factors to consider, things like Birdie lacking any exceptional service for the country or the economy.

Additionally, we read how Birdie losses points because of his father’s unemployment pattern but gains a few points “by being a Negro.” Goodness, sound like Disch’s futuristic world has the deck stacked against blacks. What else is new? Perhaps not so coincidentally, Philip K. Dick's novel Flow My Tears, the Policeman Said, also published in the 1970s, maps out genetic engineering geared to eliminate the US black population.

Birdie pens an essay for class entitled Problems of Creativeness, that ends “Another criteria of Creativeness was made by Socrates, so cruelly put to death by his own people, and I quote, “To know nothing is the first condition of all knowledge.” From the wisdom of that great Greek Philosopher may we not draw our own conclusions concerning these problems. Creativeness is the ability to see relationships where none exist.”

Read carefully, this essay reveals a highly imaginative, creative, intelligent mind buried under bad English and disastrous inner city public education. Thus the title of Disch’s tale, The Death of Socrates, bestows a double meaning. As they say, a mind is a terrible thing to waste – and observing the social forces crushing Birdie Lund’s brilliant mind makes for one sad, profound story.

Although Birdie is squashed and squeezed by cramped urban seediness, our young man has the capacity to perceive beauty radiating, glowing on the inside, even in dumb vending machines and blind, downtrodden faces. And, as to be expected, he has to continually fight through mass media and pop culture saturation – singing the words of commercials and viewing the movement of autos and ships as if moments from movies and television shows.

One of the saddest endings I’ve ever encountered: Highly intellectual, sensitive, aesthetically attuned Birdie Lund feels trapped no matter which way he turns. As a last resort, he sees but one option open to him. Here are Disch’s concluding words: “The same afternoon, without even bothering to get drunk, he went to Times Square and enlisted in the U.S. Marines to go and defend democracy in Burma. Eight other guys were sworn in at the same time. They raised their right arms and took one step forward and rattled off the Pledge of Allegiance or whatever. Then the sergeant came up and slipped the black Marine Crops mask over Birdie’s sullen face. His new ID number was stenciled across the forehead in big white letters: USMC 100-7011-D07. And that was it, they were gorillas.”

A & P (2021)
Lottie is at the Metropolitan Museum of Art, at an exhibit were there are rows and stacks and pyramids of cans, boxes, meats, dairy, candy, cigarettes, bread, fruits, vegetables – all with individual brand names. Juan is so delighted just to be with her here at the museum. For Lottie, this is a time of perfection, one she wishes she could hold forever: “The real magic, which couldn’t be laid hold of, was simply that Juan was happy and interested and willing to spend perhaps the whole day with her. The trouble was that when you tried this hard to stop the flow it ran through your fingers and you were left squeezing air.”

Juan picks up a carrot that has the look and feel of being real but, of course, as part of the art exhibit, the carrot is not real. Visitors were given instructions as they entered the exhibit on what they would see and how to appreciate the art. The food and containers and cans are all fake, no matter how “real” they look – the Met’s tape said so, thus it must be true. But Juan insists, at the top of his lungs, that the carrot is real. One of the guards strides toward Juan and both he and Lottie are thrown out.

We can all recognize how this unusual art exhibit takes Andy Warhol’s Brillo Boxes and Campbell Soup Cans and expands the concept quantitatively. Arthur C. Danto has written extensively on how Warhol’s creations herald in the “death of art” in the sense that objects of art are no longer separate from everyday objects, no longer special pieces like landscape oil paintings or marble sculptures; rather, the art world defines what is and what is not art. Traveling uptown from his downtown cockroach infested 334 mega-apartment, Juan doesn’t buy into the art world’s artificial distinction. Damn, it’s a carrot! A subtle Thomas M. Disch comment on the would-be state of the visual arts in the years following Warhol and the “death of art.”

Again, these are but two of forty-eight chapters. I hope I have whetted your appetite to sample more of Disch's novel. Special thanks to Goodreads friend Manny Rayner for alerting me to this forgotten classic.



"He knew without having to talk to the rest that the murder would never take place. The idea had never meant for them what it had meant for him. One pill and they were actors again, content to be images in a mirror."
- Thomas M. Disch, 334

spentcello's review against another edition

3.0

I wanted to like this, but I found it very difficult to get into. Not quite as disturbed as some of the work by someone like J. G. Ballard, but definitely in the same vein with a lot of awful scenes and nasty words to try and shock you into feeling how gritty and 'real' this depressing futuristic shithole is. I found this kind of writing lazy and boring or sometimes just unpleasant. In saying that, I do think the book makes some biting social commentary, and that that largely redeems it as it's such a large part of the point of the novel. However, I think the book is pretending to be a lot cleverer and wittier than it actually is, and while I get the point, I wasn't drawn in and it could have been better executed.

thlwright's review against another edition

2.0

A series of future histories set in a crowded urban dystopic USA, dominated by genetic testing and predetermination. I found it tough going, not his best.

vincent1126's review against another edition

challenging dark emotional reflective sad tense medium-paced

• Plot- or character-driven? Character
• Strong character development? It's complicated
• Loveable characters? It's complicated
• Diverse cast of characters? Yes
• Flaws of characters a main focus? Yes

4.25

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Content Warnings

Minor: Racial slurs, Suicidal thoughts, and Suicide

drgnhrt968's review against another edition

challenging dark reflective sad fast-paced

• Plot- or character-driven? Character
• Strong character development? Yes
• Loveable characters? It's complicated
• Diverse cast of characters? Yes
• Flaws of characters a main focus? It's complicated

4.0

octavia_cade's review against another edition

reflective medium-paced

4.0

This was great - one of those sci-fi novels that masquerades as general fiction, almost. It's set in a future apartment building (admittedly, the future it's set in is now, but then this was written back in the 1970s, I believe), and the actions of the individuals and families in the building are presented in an almost mosaic form. There's no real overarching plot, and the different chapters, some of which essentially work as short stories, can sometimes be only marginally related to each other. It's also fairly dystopian: one of those imagined futures where rationing (of everything from housing to babies) is one of the cornerstones of society.

That's where most of the genre elements stop, to be honest. The people who inhabit the building are working class people in public housing, and the resulting storylines are highly domestic: kids so bored they're causing mayhem, family arguments over which school to send a particular child to, an elderly lady who develops a crush on her social worker, the practice and refusal of eviction. I think if you had to actually live with any of these people they'd drive you round the bend, but the point is that they're ordinary, so ordinary that driving round the bend is inescapable, and will be so no matter who they (or any of us) live with. As I said, there's not a great deal that actually happens, but the whole of it's still so entertainingly lively that I don't much care. The first chapter, particularly - it's about a feckless young man throwing away opportunity after opportunity because he's lazy and not very clever - is especially well-drawn.

I'm tempted to get a copy of my own once this is back in the library. Or at least find more by this author to read, because this felt fresh and likeable, even if it's fifty years old at this point. 

69goose69's review against another edition

dark mysterious reflective medium-paced

• Plot- or character-driven? Character
• Strong character development? Yes
• Loveable characters? No
• Diverse cast of characters? It's complicated
• Flaws of characters a main focus? Yes

2.75

bibliomaniac2021's review against another edition

challenging dark funny lighthearted sad fast-paced

• Plot- or character-driven? Character
• Strong character development? It's complicated
• Loveable characters? No
• Diverse cast of characters? No
• Flaws of characters a main focus? Yes

4.25