Curiosity and mischief can sometimes get the better of us. This is something Corey Halpern, a permanent resident of the Hamptons ,learns as he develops as pastime for breaking into rich people’s homes. The Sheffield’s home is one of the homes that is very familiar to him, his mother has worked for the family for many years. Corey harbors some resentment for this family for how the Sheffield’s reacted to his mother dropping an expensive vase.
With careful and meticulous planning, Corey orchestrates his break in. But this planning soon crumbles beneath his feet and what happens next is a fast-paced plot of death, forbidden acts and consequences. Jason Allen’s debut shows that he is a masterful storyteller with lyrical prose and a plot development that makes you think.
Thank you Park Row for allowing me to participate in the blog tour.
Q&A With Jason Allen
Q: What inspired you to write THE EAST END?
A: Initially, I mainly wanted to illuminate the inner lives of the working class people of the Hamptons. I grew up there, and as a working class person in a seasonal resort area that attracts the wealthiest of the wealthy, as the Hamptons does, it’s impossible not to compare what “they” have versus what “we” have. I’d always been fascinated by just how extreme the disparity was between the multi-millionaire visitors and those of us who scraped by year after year, and that tension played out in so many ways each summer season. So I wanted to explore class, but also addiction, secrecy, obsession, and to do my best to write a complex story that highlights that tension among the disparate classes of people in the Hamptons. What I found over time, after delving into the depths of each character’s psyche, is that I truly believe that we are all more than the assumptions others might impose upon us.
Q: What are some of the main themes in the book or some of the key takeaways?
A: The main themes are class (specifically class-divide), alcoholism and addiction, secrecy, obsession, loneliness and longing, and identity (including sexual orientation/ identification). The key takeaway, I hope, is that we should try our best not to judge any book by its cover. I had an easy time empathizing with the teenaged character, Corey, even as he starts breaking into houses, and also for his mother, Gina, even as she’s hitting bottom with alcohol and pills and is relatively absent from her two sons’ daily lives. I was surprised to find how much I cared about the billionaire character, Leo Sheffield, when in the past I could have easily written him off as just another greed-driven destroyer of the world, someone who deserves no empathy—but it was gratifying to care about them all, despite their flaws and bad decisions.
Q: What are the commonalities you discovered between the elite and the middle-class characters?
A: Everyone suffers. Everyone loves. Everyone longs for something or someone. We’re all so flawed, all bumbling along through our lives; we’re all having a human experience, no matter our socioeconomic status. It just so happens that it will always be a bit harder for working class people in general—hardest of all for the poorest of the poor.
Q: Your author bio says you grew up in the Hamptons and worked a variety of blue-collar jobs for wealthy estate owners. How much did you draw from personal experience when writing this book?
A: I mined lots of lived experience for both the setting of the novel and the characters. My mother worked for a millionaire family at their summer estate in Southampton for more than a decade, and while the plot and characters are fictional, the setting is closely based on the estate where she worked (and where I worked with her for one summer). I also worked for the mega-rich in the Hamptons as a pool guy, a carpenter’s helper, lots of labor jobs in my teens and twenties.