The Mezzanine

The Mezzanine

by Nicholson Baker

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Overview

A National Book Critics Circle Award-winner elevates the ordinary events that occur to a man on his lunch hour into “a constant delight” of a novel (The Boston Globe).
 
In this startling, witty, and inexhaustibly inventive novel, New York Times–bestselling author Nicholson Baker uses a one-story escalator ride as the occasion for a dazzling reappraisal of everyday objects and rituals. From the humble milk carton to the act of tying one’s shoes, The Mezzanine at once defamiliarizes the familiar world and endows it with loopy and euphoric poetry.
 
Baker’s accounts of the ordinary become extraordinary through his sharp storytelling and his unconventional, conversational style. At first glance, The Mezzanine appears to be a book about nothing. In reality, it is a brilliant celebration of things, simultaneously demonstrating the value of reflection and the importance of everyday human experiences.
 
“A very funny book . . . Its 135 pages probably contain more insight into life as we live it today than anything currently on the best-seller list.” —The New York Times
 
“Captures the spirit of American corporate life and invests it with a passion and sympathy that is entirely unexpected.” —The Seattle Times
 
“Among the year’s best.” —The Boston Globe
 
“Baker writes with appealing charm . . . [He] clowns and shows off . . . rambles and pounces hard; he says acute things, extravagant things, terribly funny things.” —Los Angeles Times Book Review
 
“Wonderfully readable, in fact gripping, with surprising bursts of recognition, humor and wonder.” —The Washington Post Book World

Product Details

ISBN-13: 9780802198228
Publisher: Grove/Atlantic, Inc.
Publication date: 07/13/2010
Sold by: Barnes & Noble
Format: NOOK Book
Pages: 145
Sales rank: 185,039
File size: 2 MB

About the Author

Nicholson Baker has published five novels—The Mezzanine, Room Temperature, Vox, The Fermata, and The Everlasting Story of Nory—and two works of nonfiction, U and I and The Size of Thoughts. He lives with his wife and two children in Maine.

Date of Birth:

1954

Place of Birth:

Rochester, NY

Education:

B.A. in English, Haverford College, 1980

Read an Excerpt

CHAPTER 1

At almost one o'clock I entered the lobby of the building where I worked and turned toward the escalators, carrying a black Penguin paperback and a small white CVS bag, its receipt stapled over the top. The escalators rose toward the mezzanine, where my office was. They were the freestanding kind: a pair of integral signs swooping upward between the two floors they served without struts or piers to bear any intermediate weight. On sunny days like this one, a temporary, steeper escalator of daylight, formed by intersections of the lobby's towering volumes of marble and glass, met the real escalators just above their middle point, spreading into a needly area of shine where it fell against their brushed-steel side-panels, and adding long glossy highlights to each of the black rubber handrails which wavered slightly as the handrails slid on their tracks, like the radians of black luster that ride the undulating outer edge of an LP.

When I drew close to the up escalator, I involuntarily transferred my paperback and CVS bag to my left hand, so that I could take the handrail with my right, according to habit. The bag made a little paper-rattling sound, and when I looked down at it, I discovered that I was unable for a second to remember what was inside, my recollection snagged on the stapled receipt. But of course that was one of the principal reasons you needed little bags, I thought: they kept your purchases private, while signaling to the world that you led a busy, rich life, full of pressing errands run. Earlier that lunch hour, I had visited a Papa Gino's, a chain I rarely ate at, to buy a half-pint of milk to go along with a cookie I had bought unexpectedly from a failing franchise, attracted by the notion of spending a few minutes in the plaza in front of my building eating a dessert I should have outgrown and reading my paperback. I paid for the carton of milk, and then the girl (her name tag said "Donna") hesitated, sensing that some component of the transaction was missing: she said, "Do you want a straw?" I hesitated in turn — did I? My interest in straws for drinking anything besides milkshakes had fallen off some years before, probably peaking out the year that all the major straw vendors switched from paper to plastic straws, and we entered that uncomfortable era of the floating straw; although I did still like plastic elbow straws, whose pleated necks resisted bending in a way that was very similar to the tiny seizeups your finger joints will undergo if you hold them in the same position for a little while.

So when Donna asked if I would like a straw to accompany my half-pint of milk, I smiled at her and said, "No thanks. But maybe I'd like a little bag." She said, "Oh! Sorry," and hurriedly reached under the counter for it, touchingly flustered, thinking she had goofed. She was quite new; you could tell by the way she opened the bag: three anemone splayings of her fingers inside it, the slowest way. I thanked her and left, and then I began to wonder: Why had I requested a bag to hold a simple half-pint of milk? It wasn't simply out of some abstract need for propriety, a wish to shield the nature of my purchase from the public eye — although this was often a powerful motive, and not to be ridiculed. Small mom and pop shopkeepers, who understood these things, instinctively shrouded whatever solo item you bought — a box of pasta shells, a quart of milk, a pan of Jiffy Pop, a loaf of bread — in a bag: food meant to be eaten indoors, they felt, should be seen only indoors. But even after ringing up things like cigarettes or ice cream bars, obviously meant for ambulatory consumption, they often prompted, "Little bag?" "Small bag?" "Little bag for that?" Bagging evidently was used to mark the exact point at which title to the ice cream bar passed to the buyer. When I was in high school I used to unsettle these proprietors, as they automatically reached for a bag for my quart of milk, by raising a palm and saying officiously, "I don't need a bag, thanks." I would leave holding the quart coolly in one hand, as if it were a big reference book I had to consult so often that it bored me.

Why had I intentionally snubbed their convention, when I had loved bags since I was very little and had learned how to refold the large thick ones from the supermarket by pulling the creases taut and then tapping along the infolding center of each side until the bag began to hunch forward on itself, as if wounded, until it lay flat again? I might have defended my snub at the time by saying something about unnecessary waste, landfills, etc. But the real reason was that by then I had become a steady consumer of magazines featuring color shots of naked women, which I bought for the most part not at the mom-and-pop stores but at the newer and more anonymous convenience stores, distributing my purchases among several in the area. And at these stores, the guy at the register would sometimes cruelly, mock-innocently warp the "Little bag?" convention by asking, "You need a bag for that?"— forcing me either to concede this need with a nod, or to be tough and say no and roll up the unbagged nude magazine and clamp it in my bicycle rack so that only the giveaway cigarette ad on the back cover showed — "Carlton Is Lowest."

Hence the fact that I often said no to a bag for a quart of milk at the mom-and-pop store during that period was a way of demonstrating to anyone who might have been following my movements that at least at that moment, exiting that store, I had nothing to hide; that I did make typical, vice-free family purchases from time to time. And now I was asking for a little bag for my half-pint of milk from Donna in order, finally, to clean away the bewilderment I had caused those moms and pops, to submit happily to the convention, even to pass it on to someone who had not yet quite learned it at Papa Gino's.

But there was a simpler, less anthropological reason I had specifically asked Donna for the bag, a reason I hadn't quite isolated in that first moment of analysis on the sidewalk afterward, but which I now perceived, walking toward the escalator to the mezzanine and looking at the stapled CVS bag I had just transferred from one hand to the other. It seemed that I always liked to have one hand free when I was walking, even when I had several things to carry: I liked to be able to slap my hand fondly down on the top of a green mailmen-only mailbox, or bounce my fist lightly against the steel support for the traffic lights, both because the pleasure of touching these cold, dusty surfaces with the springy muscle on the side of my palm was intrinsically good, and because I liked other people to see me as a guy in a tie yet carefree and casual enough to be doing what kids do when they drag a stick over the black uprights of a cast-iron fence. I especially liked doing one thing: I liked walking past a parking meter so close that it seemed as if my hand would slam into it, and at the last minute lifting my arm out just enough so that the meter passed underneath my armpit. All of these actions depended on a free hand; and at Papa Gino's I already was holding the Penguin paperback, the CVS bag, and the cookie bag. It might have been possible to hold the blocky shape of the half-pint of milk against the paperback, and the tops of the slim cookie bag and the CVS bag against the other side of the paperback, in order to keep one hand free, but my fingers would have had to maintain this awkward grasp, building cell walls in earnest, for several blocks until I got to my building. A bag for the milk allowed for a more graceful solution: I could scroll the tops of the cookie bag, the CVS bag, and the milk bag as one into my curled fingers, as if I were taking a small child on a walk. (A straw poking out of the top of the milk bag would have interfered with this scrolling — lucky I had refused it!) Then I could slide the paperback into the space between the scroll of bag paper and my palm. And this is what I had in fact done. At first the Papa Gino's bag was stiff, but very soon my walking softened the paper a little, although I never got it to the state of utter silence and flannel softness that a bag will attain when you carry it around all day, its hand-held curl so finely wrinkled and formed to your fingers by the time you get home that you hesitate to unroll it.

It was only just now, near the base of the escalator, as I watched my left hand automatically take hold of the paperback and the CVS bag together, that I consolidated the tiny understanding I had almost had fifteen minutes before. Then it had not been tagged as knowledge to be held for later retrieval, and I would have forgotten it completely had it not been for the sight of the CVS bag, similar enough to the milk-carton bag to trigger vibratiuncles of comparison. Under microscopy, even insignificant perceptions like this one are almost always revealed to be more incremental than you later are tempted to present them as being. It would have been less cumbersome, in the account I am giving here of a specific lunch hour several years ago, to have pretended that the bag thought had come to me complete and "all at once" at the foot of the up escalator, but the truth was that it was only the latest in a fairly long sequence of partially forgotten, inarticulable experiences, finally now reaching a point that I paid attention to it for the first time.

In the stapled CVS bag was a pair of new shoelaces.

CHAPTER 2

My left shoelace had snapped just before lunch. At some earlier point in the morning, my left shoe had become untied, and as I had sat at my desk working on a memo, my foot had sensed its potential freedom and slipped out of the sauna of black cordovan to soothe itself with rhythmic movements over an area of wall-to-wall carpeting under my desk, which, unlike the tamped-down areas of public traffic, was still almost as soft and fibrous as it had been when first installed. Only under the desks and in the little-used conference rooms was the pile still plush enough to hold the beautiful Ms and Vs the night crew left as strokes of their vacuum cleaners' wands made swaths of dustless tufting lean in directions that alternately absorbed and reflected the light. The nearly universal carpeting of offices must have come about in my lifetime, judging from black-and-white movies and Hopper paintings: since the pervasion of carpeting, all you hear when people walk by are their own noises — the flap of their raincoats, the jingle of their change, the squeak of their shoes, the efficient little sniffs they make to signal to us and to themselves that they are busy and walking somewhere for a very good reason, as well as the almost sonic whoosh of receptionists' staggering and misguided perfumes, and the covert chokings and showings of tongues and placing of braceleted hands to windpipes that more tastefully scented secretaries exchange in their wake. One or two individuals in every office (Dave in mine), who have special pounding styles of walking, may still manage to get their footfalls heard; but in general now we all glide at work: a major improvement, as anyone knows who has visited those areas of offices that are still for various reasons linoleum-squared — cafeterias, mailrooms, computer rooms. Linoleum was bearable back when incandescent light was there to counteract it with a softening glow, but the combination of fluorescence and linoleum, which must have been widespread for several years as the two trends overlapped, is not good.

As I had worked, then, my foot had, without any sanction from my conscious will, slipped from the untied shoe and sought out the texture of the carpeting; although now, as I reconstruct the moment, I realize that a more specialized desire was at work as well: when you slide a socked foot over a carpeted surface, the fibers of sock and carpet mesh and lock, so that though you think you are enjoying the texture of the carpeting, you are really enjoying the slippage of the inner surface of the sock against the underside of your foot, something you normally get to experience only in the morning when you first pull the sock on.

At a few minutes before twelve, I stopped working, threw out my earplugs and, more carefully, the remainder of my morning coffee — placing it upright within the converging spinnakers of the trash can liner on the base of the receptacle itself. I stapled a copy of a memo someone had cc:'d me on to a copy of an earlier memo I had written on the same subject, and wrote at the top to my manager, in my best casual scrawl, "Abe — should I keep hammering on these people or drop it?" I put the stapled papers in one of my Eldon trays, not sure whether I would forward them to Abelardo or not. Then I slipped my shoe back on by flipping it on its side, hooking it with my foot, and shaking it into place. I accomplished all this by foot-feel; and when I crouched forward, over the papers on my desk, to reach the untied shoelace, I experienced a faint surge of pride in being able to tie a shoe without looking at it. At that moment, Dave, Sue, and Steve, on their way to lunch, waved as they passed by my office. Right in the middle of tying a shoe as I was, I couldn't wave nonchalantly back, so I called out a startled, overhearty "Have a good one, guys!" They disappeared; I pulled the left shoelace tight, and bingo, it broke.

The curve of incredulousness and resignation I rode out at that moment was a kind caused in life by a certain class of events, disruptions of physical routines, such as:

(a) reaching a top step but thinking there is another step there, and stamping down on the landing;

(b) pulling on the red thread that is supposed to butterfly a Band-Aid and having it wrest free from the wrapper without tearing it;

(c) drawing a piece of Scotch tape from the roll that resides half sunk in its black, weighted Duesenberg of a dispenser, hearing the slightly descending whisper of adhesive-coated plastic detaching itself from the back of the tape to come (descending in pitch because the strip, while amplifying the sound, is also getting longer as you pull on it), and then, just as you are intending to break the piece off over the metal serration, reaching the innermost end of the roll, so that the segment you have been pulling wafts unexpectedly free. Especially now, with the rise of Post-it notes, which have made the massive black tape-dispensers seem even more grandiose and Biedermeier and tragically defunct, you almost believe that you will never come to the end of a roll of tape; and when you do, there is a feeling, nearly, though very briefly, of shock and grief;

(d) attempting to staple a thick memo, and looking forward, as you begin to lean on the brontosaural head of the stapler arm, to the three phases of the act —

first, before the stapler arm makes contact with the paper, the resistance of the spring that keeps the arm held up; then, second, the moment when the small independent unit in the stapler arm noses into the paper and begins to force the two points of the staple into and through it; and, third, the felt crunch, like the chewing of an ice cube, as the twin tines of the staple emerge from the underside of the paper and are bent by the two troughs of the template in the stapler's base, curving inward in a crab's embrace of your memo, and finally disengaging from the machine completely —

but finding, as you lean on the stapler with your elbow locked and your breath held and it slumps toothlessly to the paper, that it has run out of staples. How could something this consistent, this incremental, betray you? (But then you are consoled: you get to reload it, laying bare the stapler arm and dropping a long zithering row of staples into place; and later, on the phone, you get to toy with the piece of the staples you couldn't fit into the stapler, breaking it into smaller segments, making them dangle on a hinge of glue.)

In the aftermath of the broken-shoelace disappointment, irrationally, I pictured Dave, Sue, and Steve as I had just seen them and thought, "Cheerful assholes!" because I had probablybroken the shoelace by transferring the social energy that I had had to muster in order to deliver a chummy "Have a good one!" to them from my awkward shoe-tier's crouch into the force I had used in pulling on the shoelace. Of course, it would have worn out sooner or later anyway. It was the original shoelace, and the shoes were the very ones my father had bought me two years earlier, just after I had started this job, my first out of college — so the breakage was a sentimental milestone of sorts. I rolled back in my chair to study the damage, imagining the smiles on my three co-workers' faces suddenly vanishing if I had really called them cheerful assholes, and regretting this burst of ill feeling toward them.

(Continues…)


Excerpted from "The Mezzanine"
by .
Copyright © 1988 Nicholson Baker.
Excerpted by permission of Grove Atlantic, Inc..
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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The Mezzanine 3.9 out of 5 based on 0 ratings. 32 reviews.
charlesclark on LibraryThing More than 1 year ago
The most unpleasant reading experience I've had in over a decade.
amydross on LibraryThing More than 1 year ago
A short book devoted almost exclusively to the minutiae of everyday life, and the minor revelations that may result. In many ways, it felt like it borrowed from the routines of certain "observational" stand-up comics -- the kind who make you say, "oh, I thought I was the only person who noticed that sort of thing!", and give you a sudden sense of kinship with the rest of the human race. The narrator is generally more charming than funny, however.
aethercowboy on LibraryThing More than 1 year ago
In The Mezzaanine, Nicholson Baker uses a lot of words to say pretty much nothing.
leo_depart on LibraryThing More than 1 year ago
Great concept (the whole timespan of the book is one escalator ride) ! unprecedented observation of the ordinary, rubbing against philosophy and wit.
melikebooks on LibraryThing More than 1 year ago
A true love-it or hate-it novel. Fascinating for those of us who tend to analyze, who think we actually see/observe everything in our environment. But, no matter how great an observer of life you are, you'll realize just how much your powers of observation pale in comparison to Nicholson Baker's in this little study of an office drone's lunch break. Stick with it, power through, for more than 20 pages -- enough time to get past your age-old, college-student hatred of footnotes -- and you'll be rewarded with an amusing, offbeat new look at everyday things that you'd always taken for granted, like shoelaces and flexible straws. I've recommended this to many book-loving friends, with the requisite warnings about how tedious it might at first seem, yet none have ever made it past page 10. I don't think that means I'm weird; I prefer to think that it makes me the only artist in the bunch, the only one who really wants to SEE that at which I look. Or perhaps it just means I'm the most anal. Whatever. I just love this bizarre little book, and reading it has forever changed the way I see and appreciate the most menial of things.
jwhenderson on LibraryThing More than 1 year ago
Nicholson Baker's novels are examples of of trying to imbue the minute trivialities of modern life with unseen philosophical and personal significance. Exhibiting an affinity for minutiae and ponderous disquisition, he is noted for transforming otherwise banal human activities into finely wrought descriptions of thought and serious consideration. His technique of extreme magnification and loitering contemplation has been described as creating a ¿clogging¿ effect in his fiction, thus slowing narrative time to a near standstill while retraining the reader's attention on otherwise overlooked objects and minor events, all presented through Baker's scrupulous authorial subjectivity. The effect of this in The Mezzanine, an essentially plotless, stream-of-consciousness novel, which examines in great detail the lunch-hour activities of a young office worker named Howie is bracing for about two pages. His simple lunch¿a hot dog, cookie, and milk¿and purchase of a new pair of shoelaces are juxtaposed against his reading of a paperback edition of Marcus Aurelius's Meditations. Baker's digressive novel contains copious footnotes, some of which are several pages long, while following the ruminations of Howie as he contemplates a variety of everyday objects and occurrences, including how paper milk cartons replaced glass milk bottles, the miracle of perforation, and the nature of plastic straws, vending machines, paper towel dispensers, and popcorn poppers. That he would take more than eighty per cent of the novel to reach his epiphany from a random passage in the Meditations, which lasts less than a page before he returns to memories of cookies and milk as a youth, gives you some idea of the misadventure that this slight novel encompasses. The author's hubris at thinking that his disquisition on drinking straws and shoelaces constitutes a novel of humor or ideas or anything else is merely a symptom of the artistic morass of literature at the end of the twentieth century.
bookworm12 on LibraryThing More than 1 year ago
This gem of a book is an oddity of sorts. It seems short, but is filled with huge footnotes in a small font. It's about nothing, but it's about everything. Every time I would find myself starting to lose interest in the author's ramblings, he would say something that hit so close to home I was immediately caught back up in his seamless flow of thoughts. The entire book follows the rambling thoughts of Howie, a worker in an office building. He talks about his lunch hour, the random acts we're inspired to do when alone in an elevator, and more. There's no plot to follow, just Howie's meandering commentary. Though the footnotes can be a bit trying and banal at times, the meat of the book is both original and hilarious.
rrriles on LibraryThing More than 1 year ago
Best use of footnotes in the history of literature.
datrappert on LibraryThing More than 1 year ago
A unique, engrossing experience for those of us who are always wondering about the minutiae of life. This made me want to read everything Baker has written - but although some of the rest is quite good, nothing equals this. I guess you can't really pull off something like this more than once.
LynnB on LibraryThing More than 1 year ago
This short (135 page) novel takes place over a lunch hour. Nicholson Baker is one of my favourite authors: he has managed, in this book, to show how one man's mind works. Mr. Baker's powers of observation are phenomenal. This isn't a story with much "plot", but it is fascinating -- like a conversation with a quirky friend.
listorama on LibraryThing More than 1 year ago
Technically it's a novel, as it describes a person's activities and thoughts during a brief period, but that literary structure is merely an excuse for Baker to ruminate on everyday things that most people never notice. What this man observes and thinks about is mind-boggling, as is his ability to describe processes and devices that we all take for granted. As others have said in other ways, "The Mezzanine" is tribute to details---details at a level almost unbelievable. Thanks to Mr. Baker I now know the finer points of cleaning the moving handrail of an escalator, and can say that I have read footnotes that take up an entire page (or nearly so). It gets about one and a half stars for plot development, but who cares? A great read! I loved it.
brewbooks on LibraryThing More than 1 year ago
The Mezzanine by Nicholson BakerI will think of this book whenever I tie my shoes . It is a compressed version of James Joyce's Ulysses, with all the events revolving around a lunch hour. One of the cornerstones of the book is a quote from Marcus Aurelius Meditations"Manifestly, no condition of life could be so well adapted to the practice of philosophy as this in which chance finds you today! " P 124 I would recommend this as an interesting view of the thoughts that pass through one's mind - a flux of concepts that come and go.
billmcn on LibraryThing More than 1 year ago
For my money, Nicholson Baker is more interesting when writing about the minutiae of office supplies than the minutiae of sex, because everyone obsesses over sex, but who else can go on for pages about staplers, escalators, and vending machines? In The Mezzanine he pulls off a rare feat, a literary experiment that is delightful all the way through.
sfisk on LibraryThing More than 1 year ago
I liked it, entertaining
katiebobus on LibraryThing More than 1 year ago
First-rate experiment in form in which the entire "plot" spans the time it takes for a man to ascend a mall elevator. The real meat of the novel is in the man's thoughts, some fleeting and others expanding into pages-long footnotes, beautifully capturing the twists and revelations of the human mind, at work even when seemingly nothing is going on.
joshrothman on LibraryThing More than 1 year ago
Very entertaining, and occasionally more than that, this is a short, readable example of "postmodernist" fiction and an obvious descenent of Nabokov and, perhaps, forerunner of David Foster Wallace and others in its style. It anticipates something of the 1990s design obsession, but does more than that when it imagines, for example, the inside of a phonograph groove or of a line in the ice of left behind by a skate; in those instances it is beautiful and mind-expanding.
BookReviewersClub More than 1 year ago
"The Mezzanine" is a short novel by Nicholson Baker published in 1988. It was the author's first published book, and it follows the character of Howie, who is your average American office employee. The story begins by following Howie as he makes his way up the escalator to the mezzanine where his office cubical is, and ends with him stepping off the escalator onto his office's floor. Basically, the story is about the wearied human mind and the thought process that goes through Howie's head on a typical Monday. There is this little place in the normal human mind that then takes a tangent here and there and never seems to fully focus on one thought all the way through to the end. This book is full of those tangents and seems to live off of all of the tiny details of every single thought that could possibly go through one's mind while at the office. All in all, I give the book 4 stars because it's a good one and I do recommend reading it.
Anonymous More than 1 year ago
This is my favorite book of all time.
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