Take Didion’s Democracy, remove the snarking dogs of monied ennui, add a true outsider’s perspective, and place it all on a gyroscope. Now spin! That’s the verve of Abish here, having a blast making shitty people do shitty people things.
He does acknowledge that most actors in these crosshatchings of power are innocents—innocents in that they have no fucking clue what either they or their money are really doing. Innocent here largely means unaware and ignorant.
If that’s painting w a too-wide brush, it’s intentional as it allows Abish to crank up the absurdity level to a solid sub-Jarryean pitch. Unlike Didion, he’s not interested in exploring and exposing the corridors of power. No, our Walter is far more interested in showing you the same corridor, its lovely floral appointments, opening the windows, and dropping flowerpots on the heads of those who wear evening wear in the daytime.