In a sensitive and full-dimensioned portrayal of American life, Martin Flavin has created a memorable character. By turns admirable, pitiable, tough, noble, weak, futile, and brilliantly effective, a lonely man going nowhere in the dark, Sam Braden mirrors thousands like him who have put their familiar stamp upon the American way of life.
He wanted wealth, and he got it. He wanted to belong to the social world in which the Wyatts moved so easily, and in time he did. Most of all he wanted Eileen Wyatt, and this too he achieved, but only after a fashion. To explain this average man who had wanted success above everything, and who achieved an enviable degree of it and yet who never escaped from the prison of his loneliness, Martin Flavin takes the reader back to the friendly, democratic world that existed along the Mississippi in the Eighties, to the influences which shaped the boy and fixed the pattern of the man.
Journey in the Dark is the story of Sam Braden, a self-made man from the American Midwest, who rises from a life of poverty to become a millionaire, and as might be suspected if you were assuming the novel would follow traditional storytelling clichés, Sam Braden then learns that having money isn’t everything. While there is a little more complexity to the story than that, the basic plotline seems an uninteresting and overused trope. However, the novel does have a few redeeming qualities.
First of all is the storytelling style itself. Many of the chapters are framed by Sam Braden taking a walk, a car ride, or making a commute, and as the places he passes trigger memories, we are given the bits and pieces of his past that add up to tell his story, little by little, memory by memory. There is a type of nostalgia channeled in the prose and framing of the story so the reader is given a linear story, but with the occasional hints and commentary of hindsight. We are given clues as to the successes and failures that Braden will experience in the future, and then shown all the bits of his story that lead up to those events. It’s a more subtle way of telling the story, layering and adding on parts of the story through subsequent nostalgic discourses. Continue reading