POOL HOUSE

A glass pool house in Los Angeles becomes a symbol for the dangerous neediness of the actors who live there.

Beginning with an aging TV star’s fatal jump from a bridge, Choi offers an evocative study of Hollywood in all its seediness and self-importance. In a city shaped by performers, life is played out for an audience both seen and imagined. Moon and Adam, actors from Wabi-Sabi, a canceled sitcom, gather after Mac dies by suicide; Mac played the white husband, Moon the much younger Asian wife, and Adam her same-age stepson. The casting was a mirror of the real world: Moon had a long affair with Mac, Adam was in love with Moon, and Mac served as occasional father figure both to Adam and to Moon’s daughter, Stevie. Now, with the show ended and the money gone, Moon and 20-year-old Stevie live in the dirty pool house of the extravagant home Moon can no longer afford, which is rented out to rich strangers. Meanwhile, Stevie, less alluring than her mother, works at a burrito joint and bears the brunt of this life; Moon’s alcoholism and shameful neglect pairs with Stevie’s jealousy of the wounded, charismatic Adam and the betrayal she feels following Mac’s death. The plot is contained—Moon, Stevie, and Adam attend the funeral; Moon gets an audition—though the novel’s throughline is the transgressive sex that shapes all their lives. It’s a kind of currency for Moon, an oedipal addiction for Adam; it’s a surrogate for fame, but also, seemingly, bubbles up from the city itself. Choi’s characterizations are astonishing in their nuance—all is childlike performance in this world where no one is sure who they are, but by the end, the injuries are shocking and real.

An impressive portrait of an ephemeral and savage world.