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Freedom Hardcover – 23 Sep 2010

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Product details

  • Hardcover: 570 pages
  • Publisher: Fourth Estate; First Printing edition (23 Sept. 2010)
  • Language: English
  • ISBN-10: 0007269757
  • ISBN-13: 978-0007269754
  • Product Dimensions: 23.4 x 15.5 x 4.1 cm
  • Average Customer Review: 3.8 out of 5 stars  See all reviews (212 customer reviews)
  • Amazon Bestsellers Rank: 168,781 in Books (See Top 100 in Books)

More About the Author

Jonathan Franzen was born in 1959 and graduated from Swarthmore College. He has lived in Boston, Spain, New York, Colorado Springs and Philadelphia. His other novels are 'The Twenty-Seventh City', 'Strong Motion', and 'The Corrections'. He is also the author of 'How To Be Alone', a collection of non-fiction, and 'The Discomfort Zone', a memoir. His fiction and non-fiction appear frequently in the 'New Yorker' and 'Harper's', and he was named one of the best American novelists under forty by 'Granta' and the 'New Yorker'. He lives in New York City.

Product Description


"A lavishly entertaining account of a family at war with itself, and a brilliant dissection of the dissatisfactions and disappointments of contemporary American life... Compelling...Freedom, though frequently funny, is ultimately tender: its emotional currency is both the pain and the pleasure that that word implies . . . A rare pleasure, an irresistible invitation to binge-read . . . That it also grapples with a fundamental dilemma of modern middle-class America—namely: Is it really still OK to spend your life asserting your unalienable right to the pursuit of happiness, when the rest of the world is in such a state?—is what makes it something wonderful. If Freedom doesn’t qualify as a Great American Novel for our time, then I don’t know what would . . . The reason to celebrate him is not that he is doing something new but that he is doing something old, presumed dead—and doing it brilliantly. Freedom bids for a place alongside the great achievements of his predecessors, not his contemporaries; it belongs on the same shelf as John Updike’s Rabbit, Tom Wolfe’s The Bonfire of the Vanities, Philip Roth’s American Pastoral. It is the first Great American Novel of the post-Obama era." —Benjamin Secher, Daily Telegraph

"The ultimate way-we-live now novel" –Lev Grossman, Time

"Jonathan Franzen’s new novel, Freedom, like his previous one, The Corrections, is a masterpiece of American fiction . . . Freedom is a still richer and deeper work—less glittering on its surface but more confident in its method. Like all great novels, Freedom does not just tell an engrossing story. It illuminates, through the steady radiance of its author’s profound moral intelligence, the world we thought we knew."—Sam Tanenhaus, The New York Times Book Review
"A literary genius for our time . . . An extraordinary work . . . This is simply on a different plane from other contemporary fiction . . . Demands comparison rather with Saul Bellow’s Herzog. A modern classic, Freedom is the novel of the year, and the century." —Jonathan Jones, Guardian

"Forget about 3-D films, this is a 3-D novel. The characters are alive, past, present and future. Lives are truly lived . . . The great achievement of Freedom is to be an almost perfectly written novel, yet one which contrives not to be intimidating. It is both a page-turner and a work of art . . . It is bliss." --Sarah Sands, Evening Standard

"While modern publishing sometimes seems to prize whimsy over scope – nobody much expects a Great American Novel to materialize – Jonathan Franzen has gone and written two . . . Franzen’s characters are heartbreaking, his sentences breathtaking, and Freedom has the narrative grip of a cheap thriller." --Tim Walker, Independent

"Writing in prose that is at once visceral and lapidary, Mr. Franzen shows us how his characters strive to navigate a world of technological gadgetry and ever-shifting mores, how they struggle to balance the equation between their expectations of life and dull reality, their political ideals and mercenary personal urges. He proves himself as adept at adolescent comedy as he is at grown-up tragedy; as skilled at holding a mirror to the world his people inhabit day by dreary day as he is at limning their messy inner lives . . . Mr. Franzen has written his most deeply felt novel yet—a novel that turns out to be both a compelling biography of a dysfunctional family and an indelible portrait of our times." —Michiko Kakutani, The New York Times

"[Freedom is] a work of total genius: a reminder both of why everyone got so excited about Franzen in the first place and of the undeniable magic—even today, in our digital end-times—of the old-timey literary novel . . . Few modern novelists rival Franzen in that primal skill of creating life, of tricking us into believing that a text-generated set of neural patterns, a purely abstract mind-event, is in fact a tangible human being that we can love, pity, hate, admire, and possibly even run into someday at the grocery store. His characters are so densely rendered—their mental lives sketched right down to the smallest cognitive micrograins—that they manage to bust through the art-reality threshold: They hit us in the same place that our friends and neighbors and classmates and lovers do. This is what makes Franzen’s books such special event." —Sam Anderson, New York Magazine

"One of those rare books that starts well and then takes off . . . a joy to read . . . With its all-encompassing world, its flawed heroes and its redemptive ending, Freedom has the sweep of a modern Paradise Lost." Economist

"The Great American Novel." —Esquire

"Epic." —Vanity Fair

"Exhilarating . . . Gripping . . . Moving . . . On a level with The Great Gatsby [and] Gone With the Wind." —Craig Seligman, Bloomberg

"Consuming and extraordinarily moving." —David L. Ulin, Los Angeles Times

"It’s refreshing to see a novelist who wants to engage the questions of our time in the tradition of 20th-century greats like John Steinbeck and Sinclair Lewis . . . [This] is a book you’ll still be thinking about long after you’ve finished reading it." —Patrick Condon,  Associated Press

"Freedom, his new book, and The Corrections, its predecessor, are at the same time engrossing sagas and scathing satires, and both books are funny, sad, cranky, revelatory, hugely ambitious, deeply human and, at times, truly disturbing. Together, they provide a striking and quite possibly enduring portrait of America in the years on either side of the turn of the 21st century . . . His writing is so gorgeous . . . Franzen is one of those exceptional writers whose works define an era and a generation, and his books demand to be read." —Harper Barnes, St. Louis Post-Dispatch

"How we need the quiet, old-fashioned wisdom of Jonathan Franzen right now... The busy everyday life of the media distrusts what the best of fiction offers – complexity, thought, an exploration of the way great trends play out in small lives, with no sound-bite messages or easy conclusions. But for those who value that important still place, rare novels of the quality of Freedom, providing news that stays news, are something to be treasured." --Terence Blacker, Independent

From the Publisher

This book has been printed with two different dust jackets--one black, one white. is unable to accept requests for a specific cover. The various covers will be assigned to orders at random.
--This text refers to the Paperback edition.

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Customer Reviews

3.8 out of 5 stars

Most Helpful Customer Reviews

20 of 21 people found the following review helpful By P. G. Harris TOP 1000 REVIEWERVINE VOICE on 22 Jan. 2012
Format: Paperback
On page 361 (of the hardback edition) is the sentence, "You may be poor, but the one thing nobody can take away from you is the freedom to f*** up your life in whatever way you want to."

If you take away the reference to being poor and apply the sentence to middle class America, it would seem to be at the centre of this complex, highly readable and deeply human novel. The book circles around this statement as three generations of the Berglund family, their friends and associates use their differing degrees of freedom to make choices which sometimes turn out for the good but more often than not f*** up their lives and those of their children and parents. Therein is an alternative voice of the book which questions this freedom in the face the demands of family, friends and society.

At its heart are three people from the middle generation, Patty (nee Emerson) and Walter Berglund and itinerant rock musician, Richard Katz. This trio form a sort of double love triangle in which each is, in different ways, loved by the other two. It is the tensions and energy thrown off by these relationships which power the narrative drive of the novel.

The opening section introduces the Berglunds living in a gentrifying neighbourhood in Minnesota where they seem to be the perfect liberal middle class couple, environmentally aware paragons of the community. In this section Frannzen succinctly and brilliantly portrays the tensions and desires seething below the surface of a seemingly blandly civilised community.

The facade of this suburban idyll is shattered by the Berglund's son becoming precociously sexually attached to Connie, daughter of the not quite so middle class Carol.
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5 of 5 people found the following review helpful By J. J. Ward on 8 Dec. 2013
Format: Kindle Edition Verified Purchase
... The first being The Corrections. Franzen continues to plough the same furrow in this one though. The philosophy of the 19th century German philosopher, Arthur Schopenhauer, underlies both - in The Corrections through the youthful writings of the one-day family patriarch, Al Lambert, and here through the overpowering influence of a tired, amoral and charismatic musician called Richard Katz - and one imagines that that philosophy may be integral to Franzen's outlook more generally. However, in Freedom, the gloomy German thinker has a worthy opponent in the figure of one Walter Berglund, whose attempts to live out a modern, secular morality provide much of the book's narrative impetus and cultural interest. In other words, Freedom is essentially about the struggle to find a meaning in life, and, without giving too much away, it is Walter whose vision - suitably truncated - wins the day. Just.

As with The Corrections, the writing is something to behold. Franzen isn't one of those authors who shies from using big words. In his universe, Raymond Carver never existed. The odd thing is, you don't respect him any the less for it.

Shame on all those people, by the way, who gave this novel one or two stars. What is it that makes so many Amazon readers gang up against consciously intelligent books like Freedom? Stupidity? Envy? Resentment? A personal dislike of the author? All four? Actually, at the time of writing this review, EL James's Fifty Shades of Grey has a higher average star-rating on this site than Freedom, which can't be right.

Or can it? Schopenhauer wouldn't have been surprised!

Seriously though, ignore the snipes. If you value modern fiction, and you haven't read this yet, you should. And not just because it's "worthy". As quite a lot of the newspaper critics pointed out when it was first published, it's a real page-turner. Entertaining, in the best sense of the term.
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2 of 2 people found the following review helpful By Pelagius on 1 Nov. 2012
Format: Paperback
Though hard work at first, as the characters are not especially appealing and one is bombarded with a huge amount of detailed information about their lives, persistence is rewarded. Gradually the outline of a fairly simple story becomes clear, centering on a liberal, East Coast, intelligent and middle-class family and in particular the dynamic between the neurotic wife Patty and her eager-beaver husband, Walter. The narrative perspective switches initially from that of Walter and his fraught life to that of his wife Patty and her self-obsessive concerns. The narrative voices of other people are also introduced, notably those of their children, Joey and Jessica - though Joey is far more convincing and others (such as Lalitha and Connie) are one-dimensional.

However, for me the book did not come alive until the willful rock musician, Richard Katz, enters the story. He is the lightening rod for the sense of spoilt boredom which encapsulates the entire family's lives. He epitomises the 'freedom' which Franzen implies we all tend to seek, though this is pitilessly shown to be self-indulgent and superficial. But at least things start to happen when Katz arrives on the scene. Unfortunately, according to Franzen, this shallow world is the dominant feature of modern America, except that most people are too ignorant to notice. Altruism, whether in the form of ecological action or the religious impulse, is merely another form of neediness. Love is a kind of desperate search for affirmation, security and/or pleasure. Everyone indulges their own emotional incontinence, unwilling to face up to a wider world beyond egotistical promptings.
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