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It is not possible to describe what Mr. Russo does without letting the word "quirky" creep in. That's because so much of Bridge of Sighs concerns itself with oddball details.... But in the midst of these small matters, the big contours of Bridge of Sighs emerge. They are richly evocative and beautifully wrought, delivered with deceptive ease. Another of Mr. Russo's hallmarks is that wonderfully unfashionable gift for effortless storytelling on a sweeping, multigenerational scale.... Some of this book's most memorable moments take the form of sharp, funny storytelling. Some emerge more amorphously through intuitive visions. And each of the main characters has a Bridge of Sighs lodged somewhere in his or her consciousness.
Janet Maslin - New York Times


Richard Russo was already the patron saint of small-town fiction, but with his new novel, Bridge of Sighs—his first since the Pulitzer Prize-winning Empire Falls—he's produced his most American story. Once again he places us in a finely drawn community that's unable to adjust to economic changes, and with insight and sensitivity he describes ordinary people struggling to get by. But more than ever before, Russo ties this novel to the oldest preoccupations of our national consciousness by focusing on the nature of optimism and the limits of self-invention...in the course of this enormous and enormously moving novel, I was continually seduced by Russo's insight and gentle humor, his ability to discern the ways we love and frustrate each other. Toward the end, before a trip to Boston, Lucy writes, "We will leave this small, good world behind us with the comfort of knowing it'll be here when we return." One sets down Russo's work with the same comforting reassurance.
Ron Charles - Washington Post


(Audio version.) The challenge facing those who perform Russo's novels is the self-effacing, low-key nature of his protagonists. The line between a faithful rendition of the character and a snoozer may be as narrow as the street that divides the rich from the poor in Russo's upstate New York town of Thomaston. Unfortunately, Morey's performance finds itself the poor side of the tracks. Lou C. ("Lucy") Lynch's narration of events is read in an even, objective tone as if Morey were reading the evening news on an amateur radio show. He does emphasize words and ideas, but the overall effect is monotonous and doesn't do justice to Russo's rich material. Morey's narrative voice for Bobby, Lucy's childhood friend and nemesis, is deeper but more of the same. Morey gives a bit more energy to the third narrator, Sarah, Lou's wife. The result is more soporific than a Thanksgiving turkey, and getting through Russo's sharp account of the factory towns he knows so well becomes more a chore than a pleasure.
Publishers Weekly


With the same humor and pathos that turned Empire Falls and Straight Man into best sellers, Russo's latest tale unravels the tangled skein of love, regret, hope, and longing that wraps itself around friends and family in a small upstate New York town. Russo's multigenerational tale follows the fortunes of two families, especially the careers of the respective sons. Although Louis Charles Lynch and Bobby Marconi come from very different backgrounds, they bond over Bobby's defense of Lou in elementary school. As they grow older, they drift apart, with Bobby changing his name to Robert Noonan and moving to Venice, where he becomes a world-famous artist. Louis stays in Thomaston, marries high school sweetheart Sarah (also an artist), and helps out his family in their grocery store. Although Louis reluctantly agrees to visit Venice with Sarah, several events converge to alter their plans (including Sarah and Bobby's possible love for each other), and their lives change in ways that neither could have anticipated. While Russo's tale gets off to a slow start and the attempt to tell the parallel stories of Louis and Bobby is not always successful, Russo's novel is nevertheless a winning story of the strange ways that parents and children, lovers and friends connect and thrive.
Henry L. Carrigan, Jr. - Library Journal


A dying town symbolizes arcs separately traced by people who abandon it and others who stubbornly stay home, believing change must be for the best, in Russo's crowded sixth novel. Its setting (fictional Thomaston in upstate New York) resembles that of both his early books set thereabouts (Mohawk, The Risk Pool) and his New England-based Pulitzer-winner Empire Falls. Thomaston is the site of the now-defunct tannery that had provided jobs and is now suspected of causing cancer. It's the hometown of Lou C. Lynch (tormented, inevitably, by the lasting nickname "Lucy") and his wife Sarah, now 60-ish and hoping to pass on their family's "empire" of convenience stores to the next generation. A narrative composed by Lou (about his hometown and himself) is juxtaposed with memories of his childhood and youth, and with a parallel narrative set in Venice, where the Lynches' childhood friend Bobby Marconi now lives as a gifted, renegade artist-and a cancer victim. Nobody now writing rivals Russo at untangling the knots of family connection, love and sexuality, ambition and compromise, fidelity and betrayal that link and afflict a formidable gallery of vividly observed, generously portrayed characters. Prominent among them: Lou's eternal-optimist father and namesake; his stoical mother Tessa; the lower-class boys who taunt and threaten him and the girls he turned to (and sometimes loved); and the luckless Marconis, victimized by a viciously abusive father. Every page bristles with life. True, many of the details and motifs (e.g., an embattled family business; prosperity transformed by inevitable change; a black-sheep sibling) closely echo the matter of Empire Falls. Nevertheless, this is a wise, uplifting book: a big-hearted, often comic, yet sturdily realistic testament to the resiliency of ordinary people who surprise us, and themselves, by coping, rebuilding and moving on. Rich, confounding and absorbing—utterly irresistible.
Kirkus Reviews