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Golden Age

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On sale Oct 20, 2015 | 17 Hours and 37 Minutes | 9781101889121
From the winner of the Pulitzer Prize: the much-anticipated final volume, following Some Luck and Early Warning, of her acclaimed American trilogya richly absorbing new novel that brings the remarkable Langdon family into our present times and beyond
 
A lot can happen in one hundred years, as Jane Smiley shows to dazzling effect in her Last Hundred Years trilogy. But as Golden Age, its final installment, opens in 1987, the next generation of Langdons face economic, social, political—and personal—challenges unlike anything their ancestors have encountered before.

Michael and Richie, the rivalrous twin sons of World War II hero Frank, work in the high-stakes world of government and finance in Washington and New York, but they soon realize that one’s fiercest enemies can be closest to home; Charlie, the charming, recently found scion, struggles with whether he wishes to make a mark on the world; and Guthrie, once poised to take over the Langdons’ Iowa farm, is instead deployed to Iraq, leaving the land—ever the heart of this compelling saga—in the capable hands of his younger sister.

Determined to evade disaster, for the planet and her family, Felicity worries that the farm’s once-bountiful soil may be permanently imperiled, by more than the extremes of climate change. And as they enter deeper into the twenty-first century, all the Langdon women—wives, mothers, daughters—find themselves charged with carrying their storied past into an uncertain future.

Combining intimate drama, emotional suspense, and a full command of history, Golden Age brings to a magnificent conclusion the century-spanning portrait of this unforgettable family—and the dynamic times in which they’ve loved, lived, and died: a crowning literary achievement from a beloved master of American storytelling.
1987


It was friday. Everyone was somewhere else, doing last-­minute chores. The tall young man got out of his little green station wagon, stretched, looked around, took off his sunglasses, and started up the walk. Minnie Frederick, who saw him through her bedroom window, dropped the stack of sheets she was carrying and ran down the stairs. But he was not at the door, and when she went out onto the porch, he was nowhere to be seen. Back in the house, through the kitchen, out onto the stoop. Still nothing, apart from Jesse, her nephew, a noisy dot, cultivating the bean field east of the Osage-­orange hedge. She walked around the house to the front porch. The car was still there. She crossed to it and looked in the window. A pair of fancy boots in the foot well of the passenger’s seat, two wadded-­up pieces of waxed paper, a soda can. She stood beside the green car for a long moment, then touched the hood. It was warm. It was real. She was not imagining things, sixty-­seven years old, she who came from a long line of crazy people on all sides, who was both happy and relieved to have chosen long ago not to reproduce. What, she thought, was the not-­crazy thing to do? It was to make a glass of iced tea and see if her sister, Lois, had left any shortbread in the cookie jar.

When had Lois first mentioned him—­Charlie Wickett—­sometime in January? But Minnie hadn’t paid attention, because she was planning her summer trip to Rome. He was Tim’s son, Lillian and Arthur’s grandson, produced by means of one of those irresponsible high-­school romances that every principal was only too familiar with. The baby had ended up in St. Louis. Tim had ended up in Vietnam, killed by a grenade fragment. Charlie now lived in Aspen, said he would be happy to meet everyone, to drive to Denby, and within a week, a reunion had exploded around his coming. They were all heading to the farm—­Frank and Andy, Michael and Richie with their wives and kids, Janet, alone (Minnie remembered that Janet had always had a thing about Tim), Arthur and Debbie and her kids (Hugh, her husband, couldn’t come because of exams, though). There hadn’t been a family gathering of this size since Claire’s wedding—­1962, that was. Minnie hoped everyone would mind their manners. She knew plenty of farm families who did not get along, but they kept their conflicts to themselves and behaved, at least in public. Families that had scattered, like the Langdons, could end up looking and acting like alien species of a single genus. Frank had nothing in common with Joe (never had), except that, thanks to Frank, the farm was paid off. Frank let Jesse and Joe work the land however they wished. Lillian, whom everyone had loved, had passed three and a half years before, and there was plenty of family gossip about what a mess Arthur and Debbie were. Dean kept to himself, and Tina, the youngest, had taken off to the mountains of Idaho. She wasn’t coming (but she had driven down to Aspen, met Charlie, liked him, and issued a bulletin in the form of a drawing that depicted a handsome, laughing kid. How she had gotten the twinkle into his eye, Minnie didn’t understand). For once, Henry was coming from Chicago (Minnie suspected that no one in Chicago knew that Henry was a farm kid). Only Claire, who was driving up from Des Moines, was a regular visitor. A big party. Lois was in charge of the cooking, Jen in charge of shopping, Joe in charge of the generous welcome. Minnie had done a lot of cleaning.

Now Charlie appeared on the other side of the screen door, loose-­limbed and fit. He saw her, he smiled, and Minnie said, “I thought you were a phantom.”

“Oh, I am sorry,” said Charlie. “When I got out of the car and realized how hot it was getting, I decided I had to take my run right away, so I ran around the section. What is that, do you think?”

“Four miles,” said Minnie.

He said, “Well, I’m not used to the heat yet. But it’s really flat, so that makes up for it a little.”

She got up and opened the door. She said, “I’ll bet you’d like some water.”

She took a glass out of the drainer and held it under the tap. Not too brown. Lois had bought some kind of French sparkling water for the weekend, though Minnie was surprised you could get that sort of thing in Iowa. He tilted his head back, opened his mouth, poured it down. She didn’t see the Langdon in him the way Frank had when he first espied him in a coffee shop in Aspen last fall, and, supposedly, was convinced the boy was a younger version of himself. Nor did she hear it in his voice (but, then, she hadn’t spent much time with Tim). What she saw was grace and a ready smile. His eyes flicked here and there as he drank—­he was no less observant than Frank, probably, but he looked like those kids she had known over the years whose parents were indulgent and easygoing, kids who understood that redemption was automatic.

Yes, she was charmed.

She said, “I’ve made the bed in your room. You can take your things up there and have a rest, if you’d like. Everyone else should be home in a bit. Jen took Guthrie and Perky into town to Hy-­Vee, but she should be back any time.” He filled his glass again and drank it down. She said, “My name is Minnie Frederick; my sister, Lois, is married to your great-­uncle Joe. Gosh, we sound old! I’m the dedicated aunt of Annie and Jesse, also a nosy neighbor, retired local principal, and arbiter of disputes.”

“Are we going to need one of those?”

“We should know by tomorrow evening.”

The smile popped out. He said, “I thought of bringing my protection squad along, but she had to work.”

“Your girlfriend?”

He nodded.

“We heard about her.”

“You did?”

“You don’t know that you were followed, that your license-­plate number was jotted down, that your every move went into the photographic memory of Frank Langdon?”

“When was that?”

“Last September. You sold him boots, too.”

Charlie shook his head, but he didn’t seem disconcerted. He looked at the ceiling moldings for a moment, then said, “May I look around the house? My mom would love this house.”

“It’s a kit house from 1916. It arrived on the train, and my father, grandfather, and uncles helped put it together. There used to be lots of other houses around, including the Langdon place, which we could see from here, but that one had to be torn down. We had a one-­room schoolhouse within walking distance, but that’s all gone now. In some places, there are a few trees where houses used to be.” Minnie made herself stop talking, only said, “But you look around, ask questions if you want. I’m going to clean up in here a bit.”

He went through the swinging door into the dining room. She tried to imagine how the place looked to him. Old, though not decrepit. Weighty? Awkwardly set into the tall-­grass prairie (maybe a sod hut would be more appropriate)? She had lived here her whole life, except for a few years in Cedar Falls, getting her teaching degree. Her parents had died here, and not easily—­her mother had lingered for years after her stroke, with only Minnie to take care of her and Lois after her father disappeared, and then her father returned, full of drunken resolve to get something back that was owed him; Lois had found him at the bottom of the cellar stairs, his head smashed into the concrete. (What had he been looking for? Booze? Treasure? Revenge?) But if every day was spent in the same place, then bad days were overlaid by good ones, your home was just your home, there was no reason for restlessness. Even the story Minnie told herself, that she’d always and only loved Frank, was a dusty remnant now that she had watched him habitually disregard the beautiful Andy, now that she’d realized that the small value he placed on his wife had its source in him rather than her. If Frank had, by some miracle, appreciated Minnie, lo these forty years ago, and loved her, and married her instead of Andy, he would have estimated her, too, at less than her real value. It wasn’t in him, whatever it was.

Charlie came back into the kitchen as Minnie was wiping down the sink. He said, “Airy.”

Minnie laughed. “Well, exactly. But thanks for reminding me to shut the windows. We can keep out maybe five degrees of heat if we close the place down for the afternoon. Tonight might be okay; your room has a fan, at any rate. No air conditioner—­sorry.”

“Oh, I don’t like air conditioners. My grandmother’s lived in St. Louis for almost sixty years without an air conditioner. She believes in wringing a cloth out in cool water, then folding it across the back of your neck.”

“She sounds enterprising. You do what you want. There’s always plenty of food. You weren’t supposed to be here till tomorrow, but I’ll tell Jesse and Jen that you’ll be coming and going as you please.”

And he took her hand in his warm one, squeezed it, and said, “Thanks! Thanks, Minnie. You are great! I hope all the Langdons are like you.”

the official dinner was Sunday at three. Janet was standing maybe a little too close to her cousin Debbie, but Debbie didn’t seem to notice. She was saying, “Why would we ever see him again, now that he’s seen us roast this hog? I mean, look at the smoke over the house, like a black cloud. Could it be any cruder?” Debbie sneezed. They were in the kitchen—­Janet slicing tomatoes, Debbie chopping celery. Through the window, Janet could see the whole family staring at the sizzling pig; of course her dad looked avid, but everyone else was smiling in anticipation, too. Janet had thought meringues and soufflés were more Aunt Lois’s sort of thing. Debbie went on, “I mean, I was ready for Tim’s doppelgänger, you know? But I don’t see it in this Charlie. And that’s a relief.” Janet did see it, though—­the hips, the hair, the vocal timbre. Debbie said, “I admit I was afraid at first, and to you, I will admit why—­the comeback of the golden boy.” She shook her head. “But this is good for me. I’ve come to terms with my own issues, which everyone has to do at some point, right?”

Janet did not confess the waves of irrational hope that had broken over her these last few weeks. This Charlie would be something of a resurrection; would she adore him, would she embarrass herself? Her childhood worship of her cousin Tim was family legend. She said, “I hope so.” Charlie had turned out to be himself, in spite of his resemblance to Tim. And Janet had turned out to have no feelings toward Charlie other than regular first impressions. She said, “At least he’s not some stray product of my dad’s youth.”

“Uncle Frank had a youth?” They both smiled. “Who said that?”

“My mom,” Janet said. “She thinks of that as a joke.” Debbie rolled her eyes. Janet said, “Has anyone told Fiona?” Janet remembered Fiona as Debbie’s wild and intimidating equestrian girlfriend, much braver than any horsey girl Janet had known at Madeira or Sweet Briar. That Fiona had been at all interested in any boy, even Tim, and had gotten pregnant, was more than a little startling.

“I did,” said Debbie.

“How did she react?”

Debbie spun toward her, knife in hand. “She said, I quote, ‘How interesting. Oh dear. There’s the van. I’ll call you.’ ”

“Did she ever call you?”

Debbie shook her head.



he fit right in, thought Henry, who was standing on the back stoop, letting the breeze blow the stench from the roasting hog away from him. Extrovert, for sure. Charlie didn’t just shake your hand, he patted you on the shoulder, looked you in the eye. From where he was standing on the porch, a little elevated, Henry could see the pattern—­the kid would go from group to group, listen first, say something, listen again, his head bent slightly forward. When he was introduced to Henry, he’d said, “Oh, I hear you teach medieval literature! I took two semesters of that, and, you know, it wasn’t what I expected.” What had he expected? “Well, you can imagine: the first book I ever read was The Once and Future King. I thought it would be lots of sorcerers, not so many monks.” Charming, but he was not Henry’s type. Were he to show up in, say, Henry’s freshman lit class, Henry would prod him, treat him a little severely, imply all semester that Charlie Wickett wasn’t putting anything past old Professor Langdon. The boy might rise to the occasion—­sometimes they did. Minnie leaned out the door and said, “Time to get organized!” Everyone began moving toward the table.



emily said that she had to go to the bathroom, but it was just so that she could wait and see where her mom was sitting, and then sit somewhere else. The downstairs bathroom door was closed, though, so she went upstairs, and instead of going to the bathroom, she went through the baby’s room and out to the back porch. From there she could see over the fields to the horizon, and she could imagine her favorite thing, which was flying. She didn’t know how this had started, but maybe from dreaming. Now the dreams and the made-­up stuff were mixed up in her mind. She often thought about a myth they had read this year in her school, where a father figured out a way to fly (the book showed giant spreading wings, like eagle wings), but he put the wings together with wax, and when the son got too close to the sun, the wax melted, and the son fell into the ocean. Eli Grissom, who sat behind her in class, pointed out that the son—­Icarus, his name was (Eli pronounced it “EYE-­carus”)—­could not have gotten ninety-­three million miles in ten minutes, if at all, but in spite of Eli, Emily imagined it almost every day, the wings catching an updraft, the boy feeling himself lifted, the warmth and the brightness all around. It was too bad, Emily thought, that he didn’t remember how birds bend their necks and fold their wings and swoop downward—­maybe he was so excited that, when the wax started melting and the feathers dropped away, he didn’t notice it in time. Emily rested her hands on the sill and leaned toward the window. The horizon was a beautiful thing, she thought.
“The thought of writing a series that spans a century with each chapter representing a year might sound daunting to some authors. Jane Smiley, however, is not just any author . . . Golden Age takes readers from 1987 up to 2020, lending a prophetic eye to the world beyond the pages. There’s much to admire: Smiley’s attention to detail in each and every year; her knowledge of politics, environmentalism, and genetics; her humor; her stripped back prose. On the farm, descriptions of the land put you right in the heart of a place that is rapidly disappearing . . . Smiley chronicles 20th-century life like few have, with the same scope and fastidiousness of Phillip Roth, Saul Bellow, and John Updike. After reading about five generations of a family, wars, financial crises, global warming, and the rise of the technological age, it makes you stop and think about how much has changed—and yet how little has changed at the same time [in] this place we call the US.” —Dana De Greff, Miami New Times

“[In] Smiley’s ambitious project of covering 100 years in the life of an Iowa family, the Langdon offspring travel across the country, across the world, even. Members of three different generations find themselves fighting in wars overseas. There are marriages that last and unions that fail. There are sublime moments of peace and contentment and sudden tragedies that knock the survivors (and readers) back a step. But death in a family is inevitable, especially over the lifetimes of many characters . . . The power of memory and nostalgia fuels the trilogy.” —Connie Ogle, Miami Herald

“Jane Smiley has such a clear, strong, American voice, there is no mistaking her work for any other. She’s my favorite kind of writer, mingling vivid plots with ingenious characters with subtle, nuanced interiority. She writes with such generous heaps of humor and grief, you feel a little richer and keener for reading her books.” —Diana Abu-Jaber [as quoted in the Miami Herald]
“For those who’ve read the first two novels in Jane Smiley’s engrossing Last Hundred Years trilogy, the publication of the third, Golden Age, will make you want to shirk your obligations, sink into your favorite reading chair, and discover what happens to members of the captivating Langdon family whose story Smiley began on their Iowa farm in 1920 . . . You probably could have guessed that, given that this volume covers 1987 to 2020, a span during which the children of Walter and Rosanna Langdon reach the age of statistically expected mortality. Smiley focuses especially on the way the wars, political controversies, terrorist attacks, financial crises and environmental disasters of these years affect the Langdons . . . The Langdon farm, now owned by Walter’s grandson Jesse, once again serves to ground the story and prompt some of Smiley’s most moving writing . . . Frank [Langdon] progresses even further in Golden Age, renewing affections with his long-estranged wife in some of the loveliest passages in this novel . . . Smiley’s trilogy is a significant achievement, animating American history through the Langdon family story, better than a textbook can.” —Jenny Shank, The Dallas Morning News

“Bold, satisfying . . . insightful. Smiley is superb when it comes to summing up a character’s hopes and insecurities. . . She is an endlessly sensitive explorer of liberty and the abandonments it entails. It will be fascinating to see where she directs her prodigious imagination now.  Golden Age is a welcome reminder of her enormous talents as a storyteller.” —Jonathan Lee, Financial Times (UK) 

“Ambitious, absorbing, rich in detail . . . In this final installment of her Last Hundred Years trilogy, Smiley wraps up the story of an Iowa farm family, with branches stretching to California and Chicago and New Jersey and Washington, D.C. Golden Age opens in 1987 [and] ends in a fraught 2019. Smiley allows plenty of room to incisively explore both sides of the increasingly bitter American political divide. She builds an unsparing portrait of a country seared by change and tempered by humanity, a place that tests and tries the Langdons, but never quite breaks them . . . Golden Age flows with the nuances and rhythms of everyday life, with time passing steadily, through births and deaths, triumph and tragedy. Smiley’s prose is precise but spare; she doesn’t need histrionics to wring your heart or make it sing. She only needs a few simple sentences . . . The book’s structure allows her to hone in on the historical events through the eyes of people about whom we care, and she builds unexpected joys and alliances into their remarkable and ordinary lives . . . Smiley lays out the dangers, daring us to ignore them at our own peril. But Golden Age is not downbeat; it puts our existence into perspective . . . In the wild, unpredictable, precious ride of life, we can still find moments to savor.” —Connie Ogle, Miami Herald
 
“Smiley's omniscient narrator is a bit like [a] private detective, documenting the Langdon clan. From 1920 to [2019], she darts into their lives, beginning with Walter and Rosanna Langdon settling a farm in Denby, Iowa, and end[ing] in a frighteningly believable near future. Smiley, a Pulitzer Prize winner, has been described as one of America's most important writers, and her Hundred Year project, a literary historical panorama [that] might at first seem like a study of how families expand and contract, becomes something bigger, more complex . . . The power of Smiley's project ultimately lies in her ability to situate her readers here, on the edge of a new world.” —Christi Clancy, Milwaukee Journal Sentinel
 
“Smiley reacquaints us with the affections and rivalries of the Langdons, and returns us to the heart of the family— the loved and loathed Iowa farm, [whose] fate is a persistent worry. War, politics, and environmental disasters are all sidebars to the principal subject of Golden Age: Can love thrive? Even in the 2019 world, with rivers running dry and topsoil reduced to dust, marriages occur, babies are born, and passings are deeply mourned. In Jane Smiley’s world, love exists . . . She keeps the interwoven plotlines moving forward with her beautiful clean sentences and fully realized characters.” —Natalie Serber, San Francisco Chronicle

“To most novelists, the prospect of writing a trilogy that spans an entire century might have seemed outrageously ambitious, if not downright foolhardy. But Jane Smiley is not most novelists. The Pulitzer Prize-winning author didn't simply rise to the multiple challenges of the multigenerational family saga. In the trilogy—which concludes with Golden Age—Smiley tells not only the story of an American family, but also the story of America itself. Set on a farm in Iowa and, as various members of the Langdon clan spread out, throughout the country and the world, The Last Hundred Years finds the family buffeted by change, including war, economic ups and downs, shifts in the culture and practice of farming, politics and a variety of other factors. At the same time, the way the characters interact with history is indivisible from the way they interact with each other, which is inextricably bound up with family dynamics and the mystery of human personality.” —Kevin Nance, Chicago Tribune

“With Golden Age, Smiley wraps up her sweeping, cumulatively absorbing American epic—as expansive and ambitious in its way as Balzac's Human Comedy and John Updike's Rabbit quartet . . . References to historical benchmarks anchor the novel in time. But what captivates are the unfolding lives of characters who share DNA and a fraying connection to their agrarian roots . . . Smiley’s plot is a marvel of intricacy that's full of surprises. Her view of old age and, especially, old love, are unexpectedly sweet. [The] trilogy demonstrates repeatedly that most lives are a combination of improvisation and serendipity, good luck and bad. With issues such as corruption, climate disruption and racism blighting the country's horizon, her characters wonder if the golden age is behind them. But Claire, the last surviving child of Walter and Rosanna Langdon, reflects on the bright spots of her 80 years, [making] her realize that ‘all golden ages, perhaps, were discovered within’ . . . A satisfying finale to a monumental portrait of an American family and an American century.” —Heller McAlpin, Los Angeles Times
 
“Thoroughly radiant . . . Anyone will marvel at the author’s tremendous talent. This installment, like those that preceded it, possesses numerous references of literary, historical, and mythological significance, layered beneath the chronicle of an upwardly mobile American family. Across an entire century and five generations, every beautifully crafted scene is astonishingly devoid of repetition. There is not a single stock character. Characters evolve throughout their lifetimes in ways that are gratifying; they are mostly long-lived, and mostly redeemed . . . The concerns that patriarch Walter Langdon faced back in 1920 were those of a man who lived close to the soil. But by the time the 21st century dawns, weather worries aren’t just for farmers anymore. Real-life hurricanes, droughts, and derechos provide compelling evidence of climate change, giving the title of Smiley’s saga—now officially known as the Last Hundred Years—an ominous ring. [But] life goes on for the Langdons . . . The term Golden Age may well refer to this stage of Smiley’s career, for her trilogy represents a remarkable achievement that deserves to be kept close at hand—along with a flashlight, generator, and canned goods, just in case.” —Sandra Levis, Pittsburgh Post-Gazette
 
“A fitting conclusion to the trilogy . . . The boon of Smiley’s writing is her unforgettable characters and unexpected relationships.” —Stephanie Sendaula, Library Journal

“It’s been almost 25 years since Smiley won the Pulitzer prize for A Thousand Acres. With The Last Hundred Years trilogy, she surely confirms her place alongside Roth, Updike and Bellow as one of the truly great chroniclers of 20th-century American life. Golden Age is breathtaking in its expansiveness, and there is an epic quality to the trilogy as a whole. But Smiley is equally compelling on the domestic and familial. The undeniable craft of Golden Age is the way in which the macro and the micro are inextricably linked. We experience the changing face of 20th-century America through the lives of characters whose defining emotional moments Smiley describes with such economy of language that the dissolution of a marriage, or regrets about a life lived, can be affectingly described in a page or two of prose . . . It is testament to Smiley’s storytelling that some of the [characters’] deaths are shocking and unexpected. Other deaths creep through the pages with a poignant sense of inevitability. And it’s this that makes reading The Last Hundred Years trilogy such a powerful, moving and rewarding experience: a rare chance to witness five generations of a family unfold. ” —Hannah Beckerman, The Guardian
 
“Smiley’s Last Hundred Years trilogy narrates the chronological history of one Iowa farm family over five generations. In the process, it also tells the story of America: how most Americans abandoned the farm for college, war and city life; how a few stayed behind, struggling to hold onto the land; how each ensuing generation accumulated learning, sophistication, power and wealth. Smiley continues to strike a fine balance between the history of an era’s 'great ideas' and the history of its everyday life. The Langdons lose family member[s], but the particulars of personal suffering do not overwhelm the intellectual arguments—and vice versa . . . It’s a small miracle how much ground Smiley covers and how much she knows: about biochemistry, horses and genetics, but also medieval literature, financial instruments and especially politics. The motifs of nature that Smiley has so carefully constructed are in clear danger from capitalism run amok . . . [But] there are more Langdons on the scene, and therein Smiley plants the seeds of possibility for America.” —Valerie Sayers, The Washington Post
 
“The rich but plainspoken third volume in Smiley’s Last Hundred Years trilogy follows Some Luck and Early Warning to complete the multigenerational account of an Iowa farm family. Golden Age begins in 1987, with the Langdons scattered across the country, mostly far from their native fields. They struggle through virtually every low point in contemporary history . . . What most threatens the land—and the Langdon family’s ‘golden age’—are not rising temperatures, but good old-fashioned betrayal.” –Sarah Begley, TIME

* “With Golden Age, Smiley grandly concludes her Last Hundred Years trilogy, a multigenerational saga about an Iowa farm family. In each novel, Smiley has subtly yet pointedly linked forces political, technological, financial, and social to personal lives, tracing in the most organic, unobtrusive, yet clarifying manner the enormous changes that have taken place over the last century . . . Smiley revels in the blissfulness of being, celebrating the glory of horses, the good company of dogs, the sweet astonishment of quickening life and newborn babies, the sheltering intimacy of a loving marriage, the pleasure of solitude . . . She sustains an enthralling narrative velocity and buoyancy, punctuated with ricocheting dialogue, as she creates a spectacular amplitude of characters, emotions, and events. Sensuousness, dread, recognition, shock, sorrow, mischievous humor, revelation, empathy—all are generated by fluid, precisely calibrated prose, abiding connection to the terrain she maps, fascination with her characters, and command of the nuances of the predicaments. Each novel is a whole and vital world in its own right, and together the three stand as a veritable cosmos as Smiley makes brilliant use of the literary trilogy—the ideal form for encompassing the breadth and depth of our brash, glorious, flawed, precious country . . . Smiley’s cantering, far-reaching, yet intimate trilogy is both timely in the issues it so astutely raises (especially as Iowa is once again in the presidential election spotlight), and timeless in the rapture of its storytelling and the humanness of its insights into family, self, and our connection to the land. Readers will be reading, and rereading, Smiley’s Last Hundred Years far into the next.” —Donna Seaman, Booklist (starred review)

Golden Age completes Smiley’s trilogy by bringing the Langdon family to the present, and beyond. As the book opens in 1987, [they] are back at the Iowa farmstead to meet a new addition to the clan, but the bigger event that year is the stock market crash . . . The first generation of Langdons survived drought and the Depression, the next prospered in the postwar boom. But now, money takes center stage, moving faster, enriching some, bankrupting others. The title, readers come to suspect, is an ironic reference to the Gilded Age, another era of boom, bust, and shady dealings; Smiley moves into the future to complete the trilogy’s century span . . . What lingers with readers is her detailed depiction of the kaleidoscopic geometries of family, as the Langdons spiral out from Iowa into the larger world, endlessly fracturing and coming back together.” —Publishers Weekly

“Warmly affecting . . . Smiley is a skilled storyteller. The story progresses year by year from 1987 through an imagined 2019 . . . Newly introduced characters are welcome additions to Smiley’s vibrant gallery of fully fleshed characters, with Henry and Claire remaining the most ruefully appealing of the siblings we first met in Some Luck . . . Despite dire events, the narrative energy of masterfully interwoven plotlines always conveys a sense of life as an adventure worth pursuing.” —Kirkus
© Derek Shapton
JANE SMILEY is the author of numerous novels, including A Thousand Acres, which was awarded the Pulitzer Prize, and the Last Hundred Years Trilogy: Some LuckEarly Warning, and Golden Age. She is the author as well of several works of nonfiction and books for young adults. A member of the American Academy of Arts and Letters, she has also received the PEN Center USA Lifetime Achievement Award for Literature. She lives in Northern California. View titles by Jane Smiley

About

From the winner of the Pulitzer Prize: the much-anticipated final volume, following Some Luck and Early Warning, of her acclaimed American trilogya richly absorbing new novel that brings the remarkable Langdon family into our present times and beyond
 
A lot can happen in one hundred years, as Jane Smiley shows to dazzling effect in her Last Hundred Years trilogy. But as Golden Age, its final installment, opens in 1987, the next generation of Langdons face economic, social, political—and personal—challenges unlike anything their ancestors have encountered before.

Michael and Richie, the rivalrous twin sons of World War II hero Frank, work in the high-stakes world of government and finance in Washington and New York, but they soon realize that one’s fiercest enemies can be closest to home; Charlie, the charming, recently found scion, struggles with whether he wishes to make a mark on the world; and Guthrie, once poised to take over the Langdons’ Iowa farm, is instead deployed to Iraq, leaving the land—ever the heart of this compelling saga—in the capable hands of his younger sister.

Determined to evade disaster, for the planet and her family, Felicity worries that the farm’s once-bountiful soil may be permanently imperiled, by more than the extremes of climate change. And as they enter deeper into the twenty-first century, all the Langdon women—wives, mothers, daughters—find themselves charged with carrying their storied past into an uncertain future.

Combining intimate drama, emotional suspense, and a full command of history, Golden Age brings to a magnificent conclusion the century-spanning portrait of this unforgettable family—and the dynamic times in which they’ve loved, lived, and died: a crowning literary achievement from a beloved master of American storytelling.

Excerpt

1987


It was friday. Everyone was somewhere else, doing last-­minute chores. The tall young man got out of his little green station wagon, stretched, looked around, took off his sunglasses, and started up the walk. Minnie Frederick, who saw him through her bedroom window, dropped the stack of sheets she was carrying and ran down the stairs. But he was not at the door, and when she went out onto the porch, he was nowhere to be seen. Back in the house, through the kitchen, out onto the stoop. Still nothing, apart from Jesse, her nephew, a noisy dot, cultivating the bean field east of the Osage-­orange hedge. She walked around the house to the front porch. The car was still there. She crossed to it and looked in the window. A pair of fancy boots in the foot well of the passenger’s seat, two wadded-­up pieces of waxed paper, a soda can. She stood beside the green car for a long moment, then touched the hood. It was warm. It was real. She was not imagining things, sixty-­seven years old, she who came from a long line of crazy people on all sides, who was both happy and relieved to have chosen long ago not to reproduce. What, she thought, was the not-­crazy thing to do? It was to make a glass of iced tea and see if her sister, Lois, had left any shortbread in the cookie jar.

When had Lois first mentioned him—­Charlie Wickett—­sometime in January? But Minnie hadn’t paid attention, because she was planning her summer trip to Rome. He was Tim’s son, Lillian and Arthur’s grandson, produced by means of one of those irresponsible high-­school romances that every principal was only too familiar with. The baby had ended up in St. Louis. Tim had ended up in Vietnam, killed by a grenade fragment. Charlie now lived in Aspen, said he would be happy to meet everyone, to drive to Denby, and within a week, a reunion had exploded around his coming. They were all heading to the farm—­Frank and Andy, Michael and Richie with their wives and kids, Janet, alone (Minnie remembered that Janet had always had a thing about Tim), Arthur and Debbie and her kids (Hugh, her husband, couldn’t come because of exams, though). There hadn’t been a family gathering of this size since Claire’s wedding—­1962, that was. Minnie hoped everyone would mind their manners. She knew plenty of farm families who did not get along, but they kept their conflicts to themselves and behaved, at least in public. Families that had scattered, like the Langdons, could end up looking and acting like alien species of a single genus. Frank had nothing in common with Joe (never had), except that, thanks to Frank, the farm was paid off. Frank let Jesse and Joe work the land however they wished. Lillian, whom everyone had loved, had passed three and a half years before, and there was plenty of family gossip about what a mess Arthur and Debbie were. Dean kept to himself, and Tina, the youngest, had taken off to the mountains of Idaho. She wasn’t coming (but she had driven down to Aspen, met Charlie, liked him, and issued a bulletin in the form of a drawing that depicted a handsome, laughing kid. How she had gotten the twinkle into his eye, Minnie didn’t understand). For once, Henry was coming from Chicago (Minnie suspected that no one in Chicago knew that Henry was a farm kid). Only Claire, who was driving up from Des Moines, was a regular visitor. A big party. Lois was in charge of the cooking, Jen in charge of shopping, Joe in charge of the generous welcome. Minnie had done a lot of cleaning.

Now Charlie appeared on the other side of the screen door, loose-­limbed and fit. He saw her, he smiled, and Minnie said, “I thought you were a phantom.”

“Oh, I am sorry,” said Charlie. “When I got out of the car and realized how hot it was getting, I decided I had to take my run right away, so I ran around the section. What is that, do you think?”

“Four miles,” said Minnie.

He said, “Well, I’m not used to the heat yet. But it’s really flat, so that makes up for it a little.”

She got up and opened the door. She said, “I’ll bet you’d like some water.”

She took a glass out of the drainer and held it under the tap. Not too brown. Lois had bought some kind of French sparkling water for the weekend, though Minnie was surprised you could get that sort of thing in Iowa. He tilted his head back, opened his mouth, poured it down. She didn’t see the Langdon in him the way Frank had when he first espied him in a coffee shop in Aspen last fall, and, supposedly, was convinced the boy was a younger version of himself. Nor did she hear it in his voice (but, then, she hadn’t spent much time with Tim). What she saw was grace and a ready smile. His eyes flicked here and there as he drank—­he was no less observant than Frank, probably, but he looked like those kids she had known over the years whose parents were indulgent and easygoing, kids who understood that redemption was automatic.

Yes, she was charmed.

She said, “I’ve made the bed in your room. You can take your things up there and have a rest, if you’d like. Everyone else should be home in a bit. Jen took Guthrie and Perky into town to Hy-­Vee, but she should be back any time.” He filled his glass again and drank it down. She said, “My name is Minnie Frederick; my sister, Lois, is married to your great-­uncle Joe. Gosh, we sound old! I’m the dedicated aunt of Annie and Jesse, also a nosy neighbor, retired local principal, and arbiter of disputes.”

“Are we going to need one of those?”

“We should know by tomorrow evening.”

The smile popped out. He said, “I thought of bringing my protection squad along, but she had to work.”

“Your girlfriend?”

He nodded.

“We heard about her.”

“You did?”

“You don’t know that you were followed, that your license-­plate number was jotted down, that your every move went into the photographic memory of Frank Langdon?”

“When was that?”

“Last September. You sold him boots, too.”

Charlie shook his head, but he didn’t seem disconcerted. He looked at the ceiling moldings for a moment, then said, “May I look around the house? My mom would love this house.”

“It’s a kit house from 1916. It arrived on the train, and my father, grandfather, and uncles helped put it together. There used to be lots of other houses around, including the Langdon place, which we could see from here, but that one had to be torn down. We had a one-­room schoolhouse within walking distance, but that’s all gone now. In some places, there are a few trees where houses used to be.” Minnie made herself stop talking, only said, “But you look around, ask questions if you want. I’m going to clean up in here a bit.”

He went through the swinging door into the dining room. She tried to imagine how the place looked to him. Old, though not decrepit. Weighty? Awkwardly set into the tall-­grass prairie (maybe a sod hut would be more appropriate)? She had lived here her whole life, except for a few years in Cedar Falls, getting her teaching degree. Her parents had died here, and not easily—­her mother had lingered for years after her stroke, with only Minnie to take care of her and Lois after her father disappeared, and then her father returned, full of drunken resolve to get something back that was owed him; Lois had found him at the bottom of the cellar stairs, his head smashed into the concrete. (What had he been looking for? Booze? Treasure? Revenge?) But if every day was spent in the same place, then bad days were overlaid by good ones, your home was just your home, there was no reason for restlessness. Even the story Minnie told herself, that she’d always and only loved Frank, was a dusty remnant now that she had watched him habitually disregard the beautiful Andy, now that she’d realized that the small value he placed on his wife had its source in him rather than her. If Frank had, by some miracle, appreciated Minnie, lo these forty years ago, and loved her, and married her instead of Andy, he would have estimated her, too, at less than her real value. It wasn’t in him, whatever it was.

Charlie came back into the kitchen as Minnie was wiping down the sink. He said, “Airy.”

Minnie laughed. “Well, exactly. But thanks for reminding me to shut the windows. We can keep out maybe five degrees of heat if we close the place down for the afternoon. Tonight might be okay; your room has a fan, at any rate. No air conditioner—­sorry.”

“Oh, I don’t like air conditioners. My grandmother’s lived in St. Louis for almost sixty years without an air conditioner. She believes in wringing a cloth out in cool water, then folding it across the back of your neck.”

“She sounds enterprising. You do what you want. There’s always plenty of food. You weren’t supposed to be here till tomorrow, but I’ll tell Jesse and Jen that you’ll be coming and going as you please.”

And he took her hand in his warm one, squeezed it, and said, “Thanks! Thanks, Minnie. You are great! I hope all the Langdons are like you.”

the official dinner was Sunday at three. Janet was standing maybe a little too close to her cousin Debbie, but Debbie didn’t seem to notice. She was saying, “Why would we ever see him again, now that he’s seen us roast this hog? I mean, look at the smoke over the house, like a black cloud. Could it be any cruder?” Debbie sneezed. They were in the kitchen—­Janet slicing tomatoes, Debbie chopping celery. Through the window, Janet could see the whole family staring at the sizzling pig; of course her dad looked avid, but everyone else was smiling in anticipation, too. Janet had thought meringues and soufflés were more Aunt Lois’s sort of thing. Debbie went on, “I mean, I was ready for Tim’s doppelgänger, you know? But I don’t see it in this Charlie. And that’s a relief.” Janet did see it, though—­the hips, the hair, the vocal timbre. Debbie said, “I admit I was afraid at first, and to you, I will admit why—­the comeback of the golden boy.” She shook her head. “But this is good for me. I’ve come to terms with my own issues, which everyone has to do at some point, right?”

Janet did not confess the waves of irrational hope that had broken over her these last few weeks. This Charlie would be something of a resurrection; would she adore him, would she embarrass herself? Her childhood worship of her cousin Tim was family legend. She said, “I hope so.” Charlie had turned out to be himself, in spite of his resemblance to Tim. And Janet had turned out to have no feelings toward Charlie other than regular first impressions. She said, “At least he’s not some stray product of my dad’s youth.”

“Uncle Frank had a youth?” They both smiled. “Who said that?”

“My mom,” Janet said. “She thinks of that as a joke.” Debbie rolled her eyes. Janet said, “Has anyone told Fiona?” Janet remembered Fiona as Debbie’s wild and intimidating equestrian girlfriend, much braver than any horsey girl Janet had known at Madeira or Sweet Briar. That Fiona had been at all interested in any boy, even Tim, and had gotten pregnant, was more than a little startling.

“I did,” said Debbie.

“How did she react?”

Debbie spun toward her, knife in hand. “She said, I quote, ‘How interesting. Oh dear. There’s the van. I’ll call you.’ ”

“Did she ever call you?”

Debbie shook her head.



he fit right in, thought Henry, who was standing on the back stoop, letting the breeze blow the stench from the roasting hog away from him. Extrovert, for sure. Charlie didn’t just shake your hand, he patted you on the shoulder, looked you in the eye. From where he was standing on the porch, a little elevated, Henry could see the pattern—­the kid would go from group to group, listen first, say something, listen again, his head bent slightly forward. When he was introduced to Henry, he’d said, “Oh, I hear you teach medieval literature! I took two semesters of that, and, you know, it wasn’t what I expected.” What had he expected? “Well, you can imagine: the first book I ever read was The Once and Future King. I thought it would be lots of sorcerers, not so many monks.” Charming, but he was not Henry’s type. Were he to show up in, say, Henry’s freshman lit class, Henry would prod him, treat him a little severely, imply all semester that Charlie Wickett wasn’t putting anything past old Professor Langdon. The boy might rise to the occasion—­sometimes they did. Minnie leaned out the door and said, “Time to get organized!” Everyone began moving toward the table.



emily said that she had to go to the bathroom, but it was just so that she could wait and see where her mom was sitting, and then sit somewhere else. The downstairs bathroom door was closed, though, so she went upstairs, and instead of going to the bathroom, she went through the baby’s room and out to the back porch. From there she could see over the fields to the horizon, and she could imagine her favorite thing, which was flying. She didn’t know how this had started, but maybe from dreaming. Now the dreams and the made-­up stuff were mixed up in her mind. She often thought about a myth they had read this year in her school, where a father figured out a way to fly (the book showed giant spreading wings, like eagle wings), but he put the wings together with wax, and when the son got too close to the sun, the wax melted, and the son fell into the ocean. Eli Grissom, who sat behind her in class, pointed out that the son—­Icarus, his name was (Eli pronounced it “EYE-­carus”)—­could not have gotten ninety-­three million miles in ten minutes, if at all, but in spite of Eli, Emily imagined it almost every day, the wings catching an updraft, the boy feeling himself lifted, the warmth and the brightness all around. It was too bad, Emily thought, that he didn’t remember how birds bend their necks and fold their wings and swoop downward—­maybe he was so excited that, when the wax started melting and the feathers dropped away, he didn’t notice it in time. Emily rested her hands on the sill and leaned toward the window. The horizon was a beautiful thing, she thought.

Reviews

“The thought of writing a series that spans a century with each chapter representing a year might sound daunting to some authors. Jane Smiley, however, is not just any author . . . Golden Age takes readers from 1987 up to 2020, lending a prophetic eye to the world beyond the pages. There’s much to admire: Smiley’s attention to detail in each and every year; her knowledge of politics, environmentalism, and genetics; her humor; her stripped back prose. On the farm, descriptions of the land put you right in the heart of a place that is rapidly disappearing . . . Smiley chronicles 20th-century life like few have, with the same scope and fastidiousness of Phillip Roth, Saul Bellow, and John Updike. After reading about five generations of a family, wars, financial crises, global warming, and the rise of the technological age, it makes you stop and think about how much has changed—and yet how little has changed at the same time [in] this place we call the US.” —Dana De Greff, Miami New Times

“[In] Smiley’s ambitious project of covering 100 years in the life of an Iowa family, the Langdon offspring travel across the country, across the world, even. Members of three different generations find themselves fighting in wars overseas. There are marriages that last and unions that fail. There are sublime moments of peace and contentment and sudden tragedies that knock the survivors (and readers) back a step. But death in a family is inevitable, especially over the lifetimes of many characters . . . The power of memory and nostalgia fuels the trilogy.” —Connie Ogle, Miami Herald

“Jane Smiley has such a clear, strong, American voice, there is no mistaking her work for any other. She’s my favorite kind of writer, mingling vivid plots with ingenious characters with subtle, nuanced interiority. She writes with such generous heaps of humor and grief, you feel a little richer and keener for reading her books.” —Diana Abu-Jaber [as quoted in the Miami Herald]
“For those who’ve read the first two novels in Jane Smiley’s engrossing Last Hundred Years trilogy, the publication of the third, Golden Age, will make you want to shirk your obligations, sink into your favorite reading chair, and discover what happens to members of the captivating Langdon family whose story Smiley began on their Iowa farm in 1920 . . . You probably could have guessed that, given that this volume covers 1987 to 2020, a span during which the children of Walter and Rosanna Langdon reach the age of statistically expected mortality. Smiley focuses especially on the way the wars, political controversies, terrorist attacks, financial crises and environmental disasters of these years affect the Langdons . . . The Langdon farm, now owned by Walter’s grandson Jesse, once again serves to ground the story and prompt some of Smiley’s most moving writing . . . Frank [Langdon] progresses even further in Golden Age, renewing affections with his long-estranged wife in some of the loveliest passages in this novel . . . Smiley’s trilogy is a significant achievement, animating American history through the Langdon family story, better than a textbook can.” —Jenny Shank, The Dallas Morning News

“Bold, satisfying . . . insightful. Smiley is superb when it comes to summing up a character’s hopes and insecurities. . . She is an endlessly sensitive explorer of liberty and the abandonments it entails. It will be fascinating to see where she directs her prodigious imagination now.  Golden Age is a welcome reminder of her enormous talents as a storyteller.” —Jonathan Lee, Financial Times (UK) 

“Ambitious, absorbing, rich in detail . . . In this final installment of her Last Hundred Years trilogy, Smiley wraps up the story of an Iowa farm family, with branches stretching to California and Chicago and New Jersey and Washington, D.C. Golden Age opens in 1987 [and] ends in a fraught 2019. Smiley allows plenty of room to incisively explore both sides of the increasingly bitter American political divide. She builds an unsparing portrait of a country seared by change and tempered by humanity, a place that tests and tries the Langdons, but never quite breaks them . . . Golden Age flows with the nuances and rhythms of everyday life, with time passing steadily, through births and deaths, triumph and tragedy. Smiley’s prose is precise but spare; she doesn’t need histrionics to wring your heart or make it sing. She only needs a few simple sentences . . . The book’s structure allows her to hone in on the historical events through the eyes of people about whom we care, and she builds unexpected joys and alliances into their remarkable and ordinary lives . . . Smiley lays out the dangers, daring us to ignore them at our own peril. But Golden Age is not downbeat; it puts our existence into perspective . . . In the wild, unpredictable, precious ride of life, we can still find moments to savor.” —Connie Ogle, Miami Herald
 
“Smiley's omniscient narrator is a bit like [a] private detective, documenting the Langdon clan. From 1920 to [2019], she darts into their lives, beginning with Walter and Rosanna Langdon settling a farm in Denby, Iowa, and end[ing] in a frighteningly believable near future. Smiley, a Pulitzer Prize winner, has been described as one of America's most important writers, and her Hundred Year project, a literary historical panorama [that] might at first seem like a study of how families expand and contract, becomes something bigger, more complex . . . The power of Smiley's project ultimately lies in her ability to situate her readers here, on the edge of a new world.” —Christi Clancy, Milwaukee Journal Sentinel
 
“Smiley reacquaints us with the affections and rivalries of the Langdons, and returns us to the heart of the family— the loved and loathed Iowa farm, [whose] fate is a persistent worry. War, politics, and environmental disasters are all sidebars to the principal subject of Golden Age: Can love thrive? Even in the 2019 world, with rivers running dry and topsoil reduced to dust, marriages occur, babies are born, and passings are deeply mourned. In Jane Smiley’s world, love exists . . . She keeps the interwoven plotlines moving forward with her beautiful clean sentences and fully realized characters.” —Natalie Serber, San Francisco Chronicle

“To most novelists, the prospect of writing a trilogy that spans an entire century might have seemed outrageously ambitious, if not downright foolhardy. But Jane Smiley is not most novelists. The Pulitzer Prize-winning author didn't simply rise to the multiple challenges of the multigenerational family saga. In the trilogy—which concludes with Golden Age—Smiley tells not only the story of an American family, but also the story of America itself. Set on a farm in Iowa and, as various members of the Langdon clan spread out, throughout the country and the world, The Last Hundred Years finds the family buffeted by change, including war, economic ups and downs, shifts in the culture and practice of farming, politics and a variety of other factors. At the same time, the way the characters interact with history is indivisible from the way they interact with each other, which is inextricably bound up with family dynamics and the mystery of human personality.” —Kevin Nance, Chicago Tribune

“With Golden Age, Smiley wraps up her sweeping, cumulatively absorbing American epic—as expansive and ambitious in its way as Balzac's Human Comedy and John Updike's Rabbit quartet . . . References to historical benchmarks anchor the novel in time. But what captivates are the unfolding lives of characters who share DNA and a fraying connection to their agrarian roots . . . Smiley’s plot is a marvel of intricacy that's full of surprises. Her view of old age and, especially, old love, are unexpectedly sweet. [The] trilogy demonstrates repeatedly that most lives are a combination of improvisation and serendipity, good luck and bad. With issues such as corruption, climate disruption and racism blighting the country's horizon, her characters wonder if the golden age is behind them. But Claire, the last surviving child of Walter and Rosanna Langdon, reflects on the bright spots of her 80 years, [making] her realize that ‘all golden ages, perhaps, were discovered within’ . . . A satisfying finale to a monumental portrait of an American family and an American century.” —Heller McAlpin, Los Angeles Times
 
“Thoroughly radiant . . . Anyone will marvel at the author’s tremendous talent. This installment, like those that preceded it, possesses numerous references of literary, historical, and mythological significance, layered beneath the chronicle of an upwardly mobile American family. Across an entire century and five generations, every beautifully crafted scene is astonishingly devoid of repetition. There is not a single stock character. Characters evolve throughout their lifetimes in ways that are gratifying; they are mostly long-lived, and mostly redeemed . . . The concerns that patriarch Walter Langdon faced back in 1920 were those of a man who lived close to the soil. But by the time the 21st century dawns, weather worries aren’t just for farmers anymore. Real-life hurricanes, droughts, and derechos provide compelling evidence of climate change, giving the title of Smiley’s saga—now officially known as the Last Hundred Years—an ominous ring. [But] life goes on for the Langdons . . . The term Golden Age may well refer to this stage of Smiley’s career, for her trilogy represents a remarkable achievement that deserves to be kept close at hand—along with a flashlight, generator, and canned goods, just in case.” —Sandra Levis, Pittsburgh Post-Gazette
 
“A fitting conclusion to the trilogy . . . The boon of Smiley’s writing is her unforgettable characters and unexpected relationships.” —Stephanie Sendaula, Library Journal

“It’s been almost 25 years since Smiley won the Pulitzer prize for A Thousand Acres. With The Last Hundred Years trilogy, she surely confirms her place alongside Roth, Updike and Bellow as one of the truly great chroniclers of 20th-century American life. Golden Age is breathtaking in its expansiveness, and there is an epic quality to the trilogy as a whole. But Smiley is equally compelling on the domestic and familial. The undeniable craft of Golden Age is the way in which the macro and the micro are inextricably linked. We experience the changing face of 20th-century America through the lives of characters whose defining emotional moments Smiley describes with such economy of language that the dissolution of a marriage, or regrets about a life lived, can be affectingly described in a page or two of prose . . . It is testament to Smiley’s storytelling that some of the [characters’] deaths are shocking and unexpected. Other deaths creep through the pages with a poignant sense of inevitability. And it’s this that makes reading The Last Hundred Years trilogy such a powerful, moving and rewarding experience: a rare chance to witness five generations of a family unfold. ” —Hannah Beckerman, The Guardian
 
“Smiley’s Last Hundred Years trilogy narrates the chronological history of one Iowa farm family over five generations. In the process, it also tells the story of America: how most Americans abandoned the farm for college, war and city life; how a few stayed behind, struggling to hold onto the land; how each ensuing generation accumulated learning, sophistication, power and wealth. Smiley continues to strike a fine balance between the history of an era’s 'great ideas' and the history of its everyday life. The Langdons lose family member[s], but the particulars of personal suffering do not overwhelm the intellectual arguments—and vice versa . . . It’s a small miracle how much ground Smiley covers and how much she knows: about biochemistry, horses and genetics, but also medieval literature, financial instruments and especially politics. The motifs of nature that Smiley has so carefully constructed are in clear danger from capitalism run amok . . . [But] there are more Langdons on the scene, and therein Smiley plants the seeds of possibility for America.” —Valerie Sayers, The Washington Post
 
“The rich but plainspoken third volume in Smiley’s Last Hundred Years trilogy follows Some Luck and Early Warning to complete the multigenerational account of an Iowa farm family. Golden Age begins in 1987, with the Langdons scattered across the country, mostly far from their native fields. They struggle through virtually every low point in contemporary history . . . What most threatens the land—and the Langdon family’s ‘golden age’—are not rising temperatures, but good old-fashioned betrayal.” –Sarah Begley, TIME

* “With Golden Age, Smiley grandly concludes her Last Hundred Years trilogy, a multigenerational saga about an Iowa farm family. In each novel, Smiley has subtly yet pointedly linked forces political, technological, financial, and social to personal lives, tracing in the most organic, unobtrusive, yet clarifying manner the enormous changes that have taken place over the last century . . . Smiley revels in the blissfulness of being, celebrating the glory of horses, the good company of dogs, the sweet astonishment of quickening life and newborn babies, the sheltering intimacy of a loving marriage, the pleasure of solitude . . . She sustains an enthralling narrative velocity and buoyancy, punctuated with ricocheting dialogue, as she creates a spectacular amplitude of characters, emotions, and events. Sensuousness, dread, recognition, shock, sorrow, mischievous humor, revelation, empathy—all are generated by fluid, precisely calibrated prose, abiding connection to the terrain she maps, fascination with her characters, and command of the nuances of the predicaments. Each novel is a whole and vital world in its own right, and together the three stand as a veritable cosmos as Smiley makes brilliant use of the literary trilogy—the ideal form for encompassing the breadth and depth of our brash, glorious, flawed, precious country . . . Smiley’s cantering, far-reaching, yet intimate trilogy is both timely in the issues it so astutely raises (especially as Iowa is once again in the presidential election spotlight), and timeless in the rapture of its storytelling and the humanness of its insights into family, self, and our connection to the land. Readers will be reading, and rereading, Smiley’s Last Hundred Years far into the next.” —Donna Seaman, Booklist (starred review)

Golden Age completes Smiley’s trilogy by bringing the Langdon family to the present, and beyond. As the book opens in 1987, [they] are back at the Iowa farmstead to meet a new addition to the clan, but the bigger event that year is the stock market crash . . . The first generation of Langdons survived drought and the Depression, the next prospered in the postwar boom. But now, money takes center stage, moving faster, enriching some, bankrupting others. The title, readers come to suspect, is an ironic reference to the Gilded Age, another era of boom, bust, and shady dealings; Smiley moves into the future to complete the trilogy’s century span . . . What lingers with readers is her detailed depiction of the kaleidoscopic geometries of family, as the Langdons spiral out from Iowa into the larger world, endlessly fracturing and coming back together.” —Publishers Weekly

“Warmly affecting . . . Smiley is a skilled storyteller. The story progresses year by year from 1987 through an imagined 2019 . . . Newly introduced characters are welcome additions to Smiley’s vibrant gallery of fully fleshed characters, with Henry and Claire remaining the most ruefully appealing of the siblings we first met in Some Luck . . . Despite dire events, the narrative energy of masterfully interwoven plotlines always conveys a sense of life as an adventure worth pursuing.” —Kirkus

Author

© Derek Shapton
JANE SMILEY is the author of numerous novels, including A Thousand Acres, which was awarded the Pulitzer Prize, and the Last Hundred Years Trilogy: Some LuckEarly Warning, and Golden Age. She is the author as well of several works of nonfiction and books for young adults. A member of the American Academy of Arts and Letters, she has also received the PEN Center USA Lifetime Achievement Award for Literature. She lives in Northern California. View titles by Jane Smiley