The likelihood of finishing so quickly only enhances the resonance: The text itself becomes a moment that can pass.
Her trip in the Long Island Sound, on The Great Gatsby boat tour, serves as nothing more, really, than an unfunny tangent about the inept, perhaps “buzzed” guide and the others on board (probably “a wedding party”).
10:04 is a complex text, if anything else, and one does run the risk of trying to put all of Lerner’s fictional selves together, to mesh his one “joke cycle” into a coherent narrative.
It’d be a mistake not to consider that as much as Mizruchi succeeds in redefining the actor and debunking many of the negative criticisms, she provides an analysis that’s offered a bit too much as objective fact.
It’s often a mistake to read characters as the author and her friends, and it wouldn’t be bothersome, in Friendship, if Gould had anything critical to reveal.
Rakoff acknowledges that it takes a lot to make people care—that it takes a lot, really, for somebody to appreciate you “revealing your goddam emotions to the world.”