In his tenth novel, Lazarus Man, Richard Price is, to borrow one of his own lines, on a “hunt for moments”—snapshots in time, chance encounters, fleeting interactions that reveal someone or something in a startling new light. “I’ve got like X-ray eyes for the little gestures that go right by everybody,” he explained in a profile timed to the publication of his 1992 novel, Clockers. “I don’t go for the big picture so much as a lot of little big pictures.” Mary Roe, a detective and one of the characters in his new book, shares that instinct. At the scene of a “larger horror,” what hits her most forcefully is not the dead bodies but a crushed USPS mail cart, “an everyday object so violently deformed.” It beckons her toward “an unasked-for comprehension of the whole.”

The currency that Lazarus Man—a patchwork of scenes from urban working-class life, set in the spring of 2008—trades in is the micro-epiphany. Price’s four interlaced East Harlem protagonists are big-souled people navigating narrow, “negotiated life.” What they want for themselves—someone to lie beside, a little more money, work that doesn’t involve selling something—rarely outpaces what is possible. They do not ask for much more of the world, or New York City, than it is ready to give. Each one of them is decent.

Felix Pearl is a 20-something photographer with a gig taking video footage of a playground and basketball courts for the parks department (to monitor safety protocols) and a habit of getting bamboozled by a pretty junkie. Mary, a respected member of the police department, is also the daughter of a prizefighter tormented by a mistake he made as a young man. Anthony Carter, a middle-aged divorcé, is a former salesman, former teacher, and former cokehead hoping to stumble onto a metaphysical truth that will mend the broken parts of his life. Royal Davis, a failed NBA hopeful, runs a funeral home and wishes he didn’t. When a tenement building collapses in Harlem, their paths become entangled and they reexamine their lives.

This disaster, which leaves six dead, is ostensibly the big event that sets the novel in motion, but it also feels almost beside the point. No one, including Price, shows much curiosity about what caused the collapse. In fact, Lazarus Man seems deeply uninterested in the idea of cause at all. The characters we encounter live a challenging existence; they are not quite on the cliff’s edge, but they are close enough to peer into the canyon without craning their neck. The novel has all the trappings of fiction as gritty urban social portraiture—the kind of enterprise that Price is associated with as the author of the drug-trade-steeped novel Clockers and a writer for HBO’s The Wire. Yet it isn’t.

[From the September 2024 issue: A satire of America’s obsession with identity]

Nor has Price written a gentrification novel about a changing Harlem, even as its Harlem is changing. Or a novel of proletarian discontent, though it is about discontented proletarians. Lazarus Man isn’t about structural racism either, despite being populated with minorities down on their luck and harangued by the police. What Price has given us is a retrograde novel. It is animated by unreconstructed, unembarrassed humanism.

His pages offer no fictional repackaging of uplift or pessimism or low-wattage Marxist theory. They depict no working-class heroes or Dickensian scoundrels. The characters are not pawns in some philosophical or political or cultural proxy war for which the novel is simply a vehicle. You would be forgiven for overlooking that the story is set amid the heat of Barack Obama’s historic presidential campaign, because this never comes up. Price’s characters are strapped but not completely stuck, battered by social structures but not paralyzed by them.

In his 1945 lecture “Existentialism Is a Humanism,” Jean-Paul Sartre observed that European existentialism had developed an undeserved reputation for being “gloomy,” denigrated as a philosophical movement obsessed with death, absurdity, anxiety, and the like. Sartre rejected this appraisal: Existentialism turned on the conviction that people can—in the face of history’s sweep, dehumanizing societal institutions, and unrestrained economic and technological development—choose how to live. Speaking before a sizable crowd at Paris’s Club Maintenant, Sartre addressed his critics. “Their excessive protests make me suspect that what is annoying them is not so much our pessimism,” the philosopher wryly observed, “but, much more likely, our optimism. For at bottom, what is alarming in the doctrine that I am about to try to explain to you is—is it not?—that it confronts man with a possibility of choice.”

Lazarus Man’s protagonists, confronted with exceptional circumstances they had no hand in generating, must nonetheless contend with the discomfiting reality of their own agency. This leaves Price walking a tightrope. His novel at once invites and undercuts the polarized attitudes toward social crisis that have recently become familiar—either fatalistic acceptance or righteous denunciation. Lazarus Man is about a traumatic event that defies a reflexive victim-culture response, as well as the lazy buck-up bromides favored by that culture’s critics.

Put a different way, it is a trauma novel without a trauma plot—pushing back against the formulaic storyline, so thoroughly skewered by The New Yorker’s Parul Sehgal, that reduces characters to predictable symptoms after some fateful event. The book’s author, too, isn’t readily fazed: Price, a white novelist writing yet again about Black urban life, betrays no signs of racial anxiety. “Northern white writers sometimes see black people as another species,” he noted in 2006. “I think the white writer sometimes says, ‘No, no, that’s a hornet’s nest.’ ” He’s still poking it.

The possibility that Price might have adopted the identitarian conventions of the previous decade or so—the last novel he wrote under his own name was Lush Life (2008), which unfolds on New York City’s Lower East Side—is swiftly ruled out by Anthony, the novel’s anchoring character. A half-Black, half–Italian Irish Ivy League screwup—years ago, he lost a full ride to Columbia for dealing drugs—he has been on a downward trajectory ever since. In his sober and unemployed middle age, he has been living in his dead parents’ tenement apartment and resists any attempt to frame himself as a victim. “A therapist suggested that as a Black student he might have subconsciously felt pressure to act out the role expected of him by the white students,” he reflects. Then he adds, “But that was bullshit.”

When Anthony is pulled out of the soot-gray rubble a third of the way through the novel—the reborn Lazarus of the book’s title—he is a changed man. Or, more accurately, he is a man desperately trying to play the part of a changed man. It is never quite clear, even as Lazarus Man rushes toward its devastating denouement, whom exactly Anthony is trying to convince of his redemption: the audiences who eventually come to hear him speak at community events, enchanted by the wisdom he has wrung from brute survival, or the man he sees in the mirror. To the extent that Price’s novel has a message, it is that epiphanies are a kind of theater we perform for ourselves. Faced with disaster or a momentous encounter, we are not gripped by revelation or metamorphosed in the fire of circumstance. Events do not transform us against our will. We decide, always retroactively, that some unexpected joy or undeserved blow is the stuff out of which a new life is made.

This idea, that we choose our own epiphanies, appears again and again. Mary, the worn-down detective, is especially epiphany-haunted, surrounded by people who have undergone sudden shifts of self. Her father, disturbed by his capacity for cruelty after a boxing opponent ended up permanently disabled, abruptly gave up the sweet science. Her husband is a reformed violent drunk whom Mary finds boring in his new meditative sobriety. And Mary herself lives in the long shadow of a halfway epiphany, restless in marriage and motherhood after a freak elevator accident two years earlier nearly killed her, leaving her searching for—and failing to find—new moorings. Mary spends much of the novel playing the role of dutiful detective, looking for a resident of the imploded building who hasn’t been seen since the day it crumbled. She tenuously connects the search to absolution for herself—guilt-ridden about being a distant mother—and for her father, convinced that discovering the missing man, dead or alive, will somehow land her on terra firma.

Lazarus Man possesses the same kind of telegenic quality that made Clockers an inspiration for The Wire. Some vignettes read like hilarious set pieces. When the tenement dissolves into a haze of white smog and rubble, Royal is dozing in one of his unsold coffins. Awoken by the noise, he pushes open the lid of his pine box and sits bolt upright, scaring witless the group of film-school students to whom he’s rented out his struggling funeral home so they can shoot a bad zombie movie. This slapstick gives way to something darker as Royal, knowing that the rumbling boom means bodies—and thus business—instructs his son to put on his best black suit and go hawk their services. Other moments give way to a gentle melancholy.

And as Anthony is slowly transformed into a minor New York celebrity—first thanks to a local-news appearance, and then through a series of speeches he is coaxed into giving—his ordeal gels into an earnest if squishy doctrine, one part self-help and one part call to duty. He proclaims again and again that his only goal is to “be of service.” His lectures are full of clichés and pseudo-profundities—“The street can be a brutal sculptor”—but his overwrought aphorisms also land, the kinds of phrases that audience members scribble down and later recite around the dinner table. Anthony’s underlying theme is always that change is possible, that the worst that comes to pass will end up being “the best thing that could possibly happen to you.” Personal catastrophe, Anthony preaches, is a gift. A sheep in wolf’s clothing.

[From the May 1976 issue: A review of Richard Price’s second novel, Bloodbrothers]

But in the end, Lazarus Man rejects its own Lazarus. Or at least Price subverts his post-traumatic gospel. When a woman approaches Anthony after one of his appearances, interrogating him about his mantra—“Whatever befalls you no matter how heartbreaking or onerous will turn out to be the best thing”—he finds himself, for the first time, at a loss for words. She tells him about a husband of two decades, newly dead. Three young kids at home and an ailing mother. An apartment slipping through her grasp. Plainly, no alchemy is forthcoming: The fragments of her life will not turn to gold if she just hopes hard enough. After Anthony mumbles something about God, she lets him have it.

When the novel at last gives up its final secret—who our Lazarus Man is, really—the big reveal does not hand over any certainty as to what lies in Anthony’s heart. The question that haunts the second half of the book is whether he is a con artist or a genuine street prophet. The answer ends up being neither. Or both. The simple truth is that one bad decision led to worse decisions, then to better ones. The same could be said of each character. As to the question of whether that building collapse truly made a new man, no one (including Anthony) is sure.

The genius of Price’s novel is that it rejects all mechanistic accounts of human existence—tragic or utopian, religious or otherwise—without downplaying the social forces that shape lives of labor. Price isn’t peddling a bootstraps humanism. Anthony, Felix, Royal, and Mary cannot pull themselves up into a more comfortable middle-class existence through sheer will, or by the thaumaturgic power of some hoped-for epiphany. They cannot be exactly who they want to be. But Price holds them accountable for who they are, and the choices they make within the world as it is given to them. Lazarus Man leaves us with four people still lurching toward an uncertain transformation. “I’m thinking a few things,” Royal muses. “All I know for sure is that I have to make a life that I can live with.”

This article appears in the December 2024 print edition with the headline “Richard Price’s Radical, Retrograde Novel.”

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