[.ca] Then We Came to the End (ISBN 031601639X)

A great first novel:
While Then We Came to the End has been touted for its humor- and it is a funny book- to read it as strictly a spoof of ad agency life would be to diminish what Joshua Ferris has accomplished in his clever novel. Filled with characters that inspire sympathy and revulsion, familiarity and curiosity- often at the same time- this notable first effort captures well what pressure-cooker corporate life can do to the human spirit, no small achievement for any novelist much less a brand new one. Told from a collective "we" point of view, the characters nevertheless have distinct voices and viewpoints, with their own hopes and desires for life beyond ad life, desires (at times) at odds with their coveted, chosen occupation. Lording over Chicago from their lofty office perches, there's a pervasive sense not only of "how did we get here?" but also a disbelieving, disheartening "so this is it?" in their daily grind. Some resent the hucksterism inherent in the advertising world- despite having fought to be a part of that world- as if the ad world should somehow be more than what is, a corporate job that just so happens to rely on teams of brilliant, creative and quirky individuals for its ultimate success. Worse, by nature some of these unique individuals are nearly the antithesis of the very idea of teamwork, which alone provides some interesting conflict. Characters strive to do their best work, or creatively avoid doing any work, as rumors swirl about layoffs and clients lost and found. With their uncertainties and insecurities surprisingly at odds with their handsome, enviable salaries, they praise and complain, encourage and slander, all the while desperate to avoid the dreaded humiliation of being the next in line to be shown the door. It's this fear of the seemingly inevitable that propels the book forward, and how each character deals with that fear (or its reality) makes the book engaging. Ferris breaks from the "we" to the first person singular only once, and that's for a stern woman supervisor who's been diagnosed with cancer. Her ruminations on her life and circumstances are poignant without being maudlin, and add an extra, unexpected dimension to the book. Like other first novels based on real places and events, Then We Came to the End does a fine job of letting outsiders in as it exposes the unglamorous aspects of ad agency life. Readers who spend their allotted time in cubicles and offices anywhere will undoubtedly recognize many of these characters- and maybe even themselves- since corporate life is corporate life no matter where it's found. Mark Wakely, author of An Audience for Einstein

NOT Like "The Office" In Book Form:
I picked this up, thinking it was basically 'The Office' in book form. It's not. Ultimately, you don't really care what happens to any of the characters and I don't think it really rings true to what it's like working in an office. There were none of those moments where you chuckle to yourself and think, 'Yeah. I've thought that before, too.' Don't get me wrong: it's perfectly readable, but it's not a page-turner and it's not particularly funny. I felt like this book was overrated.

Entertaining but you'll forget about it in a month:
I picked this book up without ever having heard of it or the author before. It was actually the reviews that are plastered all over the book that caught my eye. They go on about how this is the funniest book to come out in a long time, various famous authors rave about it, etc etc. In fact this book is entertaining and you're definitely in familiar territory (if you've ever worked in an office). The bit about the chair swapping is quite funny. But when it comes down to it, it's forgettable. It's a quick read and moderately funny and entertaining though I wouldn't suggest it for the beach if you're looking to get away from work... There's nothing in here that's groundbreakingly original. You'll forget you read it in a month or two.

Brilliant start:
A book that is deeper, truer and more profound than I think it realises itself. The book shuffles between two modes: funny office humour, and scenes that may best be described as elegaic and even epiphanic. The office scenes are usually subtle and always hilarious, but sometimes feel like they belong in a lesser, not-so-transformative novel. But that is a testament to how wise the novel is. The middle section, as has been written about elsewhere, is a foray into the perspective and world of a character whom you don't expect to hear so intimately from, and yet it is the strongest, most devastating portion of the book, and worth the cover price in itself. Ferris employs the first person plural for most of the novel; not only does it set the right tone, but it serves as a kind of unanswered question for the duration of the novel that is answered, with a sense of grand summation, in the very last line. This novel walks a tightrope and never missteps. Highly recommended.