Tom Rachman

Preoccupied by personal challenges while running a struggling newspaper in Rome, an obituary writer confronts mortality, an eccentric publisher obsesses over his dog, and other staff members uncover the paper's founding by an impulsive millionaire.

A Novel

The Imperfectionists

a novel

The imperfectionists

How the hell is this book a new york times bestseller

Jasper

DNF after 74 pages

How the hell is this book a new york times bestseller

Alexander Lobov

Rachman isn't a terrible writer. But he's far from a great one. And in this book he is guilty of overreaching massively. It's a great premise and his knowledge of press journalism's idiosyncrasies should've created a great book. Instead he tried to create far too many characters. The result is some great vignettes with potential for so much more and some unreadably cliched ones. The Egypt chapter was particularly moronic, for example, while Hardy's was painfully half-baked. Rachman should've spent more time developing the truly intriguing storylines like that of the decrepit Paris correspondent & the tragicomic cuckold, Menzies. The dialogue on the plane involving the CFO was another high point. It sparkled. But much of the rest was insufferable. I wish Rachman luck with his sophomore effort, if he does go down that path.

Elizabeth Moore

I loved this book! I personally have an inclination for vignettes and character profiles as-is, but I think that no matter what one's favorite story type or genre is that they would love The Imperfectionists. I have not in a very long time read something that so deeply revolved around what being a human really means. 

Each chapter in this novel focuses on a different American-born employee working at an International newspaper base out of Rome, and follows a brief snippet of their personal life that relates back, in one way or another, to their connection with the paper. Although the story does not wrap neatly into one perfectly intertwined story showing that each character has directly affected all of the others' lives, it does not need that. The connection between all of the characters, though tangential in most cases, feels so real and so important that I was never left wishing that they all had been brought together in some more "meaningful" (i.e. contrived) way. This book in fact is the very opposite of contrived.

There are no "good and bad" characters- they all have their flaws. Yet it is each characters flaws that made me feel as if they were important to me; as if I wanted to know more about them; as if I wanted to help them and tell them it was ok - that I kind of knew exactly how they were feeling, even though I've never been in any of their situations. Even characters you thought you should hate- the ones you'd probably hate on the street- I was so sad t leave when their chapter ended and so so happy when they would randomly flit into another character's story.

My only complaint, and it is minor, was that I felt that there were very small sections in the book where the characterization was abit too heavy-handed, and incidentally, I only felt this heavy-handedness with characters that were being drawn as abrasive- whether because Rachman wanted to to the character for his flaws despite his glossy image or because Rachman wanted to first paint a picture of a shitty person you'd typically hate before he took you behind the curtains of her life.

Overall, i absolutely loved it, and loved just sitting with the book, re-reading the passages, and truly just thinking about the characters and trying see the world through their eyes. I can think of no better book to remind the reader about the importance of compassion, empathy, and sharing the burden of humanity. Sounds lame, but it's pretty true.

From the author of The Italian Teacher, this acclaimed debut novel set in Rome follows the topsy-turvy lives of the denizens of an English language newspaper. NAMED ONE OF THE BEST BOOKS OF THE YEAR BY Janet Maslin, The New York Times • The Economist • NPR • Slate • The Christian Science Monitor • Financial Times • The Plain Dealer • Minneapolis Star Tribune • St. Louis Post-Dispatch • The Kansas City Star • The Globe and Mail • Publishers Weekly Look in the back of the book for a conversation between Tom Rachman and Malcolm Gladwell Fifty years and many changes have ensued since the paper was founded by an enigmatic millionaire, and now, amid the stained carpeting and dingy office furniture, the staff’s personal dramas seem far more important than the daily headlines. Kathleen, the imperious editor in chief, is smarting from a betrayal in her open marriage; Arthur, the lazy obituary writer, is transformed by a personal tragedy; Abby, the embattled financial officer, discovers that her job cuts and her love life are intertwined in a most unexpected way. Out in the field, a veteran Paris freelancer goes to desperate lengths for his next byline, while the new Cairo stringer is mercilessly manipulated by an outrageous war correspondent with an outsize ego. And in the shadows is the isolated young publisher who pays more attention to his prized basset hound, Schopenhauer, than to the fate of his family’s quirky newspaper. As the era of print news gives way to the Internet age and this imperfect crew stumbles toward an uncertain future, the paper’s rich history is revealed, including the surprising truth about its founder’s intentions. Spirited, moving, and highly original, The Imperfectionists will establish Tom Rachman as one of our most perceptive, assured literary talents.

Melody Izard

Written as separate short stories this is actually a cohesive story centering on a failing English language newspaper based in Italy. Each story is separate yet a brick in the whole; a personal glimpse at someone whose life is entwined with the Herald Tribune.

Erin Noel

Loved the characters and how each chapter revealed how one person in the newsroom was related to the next.

Christine Liu

Tom Rachman's The Imperfectionists is probably not the worst book I've read this year, but it is the most disproportionately undeserving of the praise that has been heaped upon it. I certainly saw no evidence of the “precocious grasp of human foibles” that Christopher Buckley raved about in the New York Times review that made me check this book out from the library. It is, however, notable for being the only book in recent memory that doesn't even pass the Bechdel test -- which, considering the test is normally applied to two-hour movies and not 300-page novels with casts containing eleven protagonists, is an impressive feat of literary misogyny.

The premise of a series of interconnected stories about the staff of a English language newspaper based in Rome was intriguing, and I enjoyed the first two stories in the book which feature Lloyd Burko, an aging correspondent living in Paris, and Arthur Gopal, a quietly suffering obit writer. It was with the third story about business reporter Hardy Benjamin, the first centering on a female character, that the book began to fall apart for me. While the two previous stories painted multi-dimensional and nuanced portraits of flawed but layered individuals (with minor exceptions in the case of supporting characters), I rolled my eyes through the story of Hardy pathetically clinging to an overgrown-toddler loser boyfriend whom she discovers has been stealing from her but instead of doing anything about it, decides the best course of action is to pretend it never happened because he is probably the best thing an ordinary-looking girl like her can hope for.

Hardy’s story set the benchmark, and I made my way through the remaining stories hoping against hope every time a female character appeared on the page that Rachman would prove me wrong and redeem himself. Sadly, by the time I finished, I felt only bored and disappointed. Kathleen Solson, who I guess is supposed to be the token strong executive woman character of the book, is weirdly described as taking "unearned pride in her looks" and masochistically wheedles a former lover for validation after her husband has an affair. None of the later stories are as interesting or well-written as the first two, but we at least get deeper glimpses into the male characters’ minds when they engage in philosophical inner dialogue that makes them somewhat redeeming despite other minor shortcomings, while the female characters we’re treated to are just sad, petty, and flat. There’s copy editor Ruby Zaga who “strips, disheartened at the sight of her naked body", and fantasizes about quitting her miserable job where she’s surrounded by terrible, rude men -- but only because she wishes they would include her when they make crude jokes and watch porn on company time. CFO Abbey Pinola laments that she “looks fucking terrible” and spends an eon grooming herself inside an airplane bathroom so she can be complimented by the man seated next to her -- a former newspaper staffer whom she incidentally just fired. Like Kathleen, she’s a driven and successful woman but is quick to discount herself to men who (god forbid) might find her too intimidating or aggressive, saying, “That’s completely not who I am.” Reader Ornella de Monterecchi mental appraisal of her housekeeper is that, “Marta has an inappropriately good figure for a cleaner, though her face is a battlefield of acne, which makes up for it.” The only thing meant to resemble a positive female relationship falls apart because, and I'm lifting this straight from the narrative itself, because "Hardy got a boyfriend, and her friendship with Annika faded." This is the same infantile boyfriend, by the way, that hardy discovered stealing from her in the earlier story.

Christopher Buckley “almost feels sorry for Rachman, because a debut of this order sets the bar so high.” I feel sorry for Rachman too, but it’s because in his world, women accept the futility of their empty, unfulfilled lives with resigned desperation. They are self-loathing caricatures who define themselves in relation to the men in their lives and are all apparently starving for male attention.

Anna Pinto

What a depressing little book. All characters are very unlikeable and things usually (view spoiler)[do not end well for them. (hide spoiler)] And yet, I strangely enjoyed it.

Les Reynolds

Nicholas Hertz

Patrick Book

Amelia C 

Paula Plaza Ponte 

Sonia Grgas

Lindsy Rice

The charming and enthralling story of an idiosyncratic English-language newspaper in Rome and the lives of its staffers as the paper fights for survival in the internet age. 'A precise, playful fiction with a deep but lightly worn intelligence' - Times Literary Supplement The newspaper was founded in Rome in the 1950s, a product of passion and a multi-millionaire's fancy. Over fifty years, its eccentricities earned a place in readers' hearts around the globe. But now, circulation is down, the paper lacks a website, and the future looks bleak. Still, those involved in the publication seem to barely notice. The obituary writer is too busy avoiding work. The editor-in-chief is pondering sleeping with an old flame. The obsessive reader is intent on finishing every old edition, leaving her trapped in the past. And the publisher seems less interested in his struggling newspaper than in his magnificent basset hound, Schopenhauer. The Imperfectionists interweaves the stories of eleven unusual and endearing characters who depend on the paper. Funny and moving, the novel is about endings - the end of life, the end of sexual desire, the end of the era of newspapers - and about what might rise afterward.

The Imperfectionists A Novel

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