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A Novel

Written by Joseph O'NeillAuthor Alerts:  Random House will alert you to new works by Joseph O'Neill


List Price: $12.99


On Sale: September 09, 2014
Pages: 256 | ISBN: 978-1-101-87004-4
Published by : Pantheon Knopf

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Read by Erik Davies
On Sale: September 09, 2014
ISBN: 978-0-553-54574-6
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***PWs Best of the Year 2014***

The author of the best-selling and award-winning Netherland now gives us his eagerly awaited, stunningly different new novel: a tale of alienation and heartbreak in Dubai.
Distraught by a breakup with his long-term girlfriend, our unnamed hero leaves New York to take an unusual job in a strange desert metropolis. In Dubai at the height of its self-invention as a futuristic Shangri-la, he struggles with his new position as the “family officer” of the capricious and very rich Batros family. And he struggles, even more helplessly, with the “doghouse,” a seemingly inescapable condition of culpability in which he feels himself constantly trapped—even if he’s just going to the bathroom, or reading e-mail, or scuba diving. A comic and philosophically profound exploration of what has become of humankind’s moral progress, The Dog is told with Joseph O’Neill’s hallmark eloquence, empathy, and storytelling mastery. It is a brilliantly original, achingly funny fable for our globalized times.


Perhaps because of my growing sense of the inefficiency of life lived on land and in air, of my growing sense that the accumulation of experience amounts, when all is said and done and pondered, simply to extra weight, so that one ends up dragging oneself around as if imprisoned in one of those Winnie the Pooh suits of explorers of the deep, I took up diving. As might be expected, this decision initially aggravated the problem of inefficiency. There was the bungling associated with a new endeavor, and there was the exhaustion brought on by over-watching the films of Jacques Cousteau. And yet, once I’d completed advanced scuba training and a Fish Identification Course and I began to dive properly and in fact at every opportunity, I learned that the undersea world may be nearly a pure substitute for the world from which one enters it. I cannot help pointing out that this substitution has the effect of limiting what might be termed the biographical import of life—the momentousness to which one’s every drawing of breath seems damned. To be, almost without metaphor, a fish in water: what liberation.
I loved to dive at Musandam. Without fail my buddy was Ollie Christakos, who is from Cootamundra, Australia. One morning, out by one of the islands, we followed a wall at a depth of forty feet. At the tip of the island were strong currents, and once we had passed through these I looked up and saw an immense moth, it seemed for a moment, hurrying in the open water above. It was a remarkable thing, and I turned to alert Ollie. He was preoccupied. He was pointing beneath us, farther down the wall, into green and purple abyssal water. I looked: there was nothing there. With very uncharacteristic agitation, Ollie kept pointing, and again I looked and saw nothing. On the speedboat, I told him about the eagle ray. He stated that he’d spotted something a lot better than an eagle ray and that very frankly he was a little bit disappointed I wasn’t able to verify it. Ollie said, “I saw the Man from Atlantis.”
This was how I first heard of Ted Wilson—as the Man from Atlantis. The nickname derived from the seventies TV drama of that name. It starred Patrick Duffy as the lone survivor from a ruined underwater civilization, who becomes involved in various adventures in which he puts to good use his inordinate aquatic powers. From my childhood I retained only this memory of Man from Atlantis: its amphibious hero propelled himself through the liquid element not with his arms, which remained at his sides, but by a forceful undulation of his trunk and legs. It was not suggested by anybody that Wilson was a superman. But it was said that Wilson spent more time below the surface of water than above, that he always went out alone, and that his preference was for dives, including night-time dives, way too risky for a solo diver. It was said that he wore a wet suit the coloring of which—olive green with faint swirls of pale green, dark green, and yellow—made him all but invisible in and around the reefs, where, of course, hide-and-seek is the mortal way of things. Among the more fanatical local divers an underwater sighting of Wilson was grounds for sending an e-mail to interested parties setting out all relevant details of the event, and some jester briefly put up a webpage with a chart on which corroborated sightings would be represented by a grinning emoticon and uncorroborated ones by an emoticon with an iffy expression. Whatever. People will do anything to keep busy. Who knows if the chart, which in my opinion constituted a hounding, had any factual basis: it is perhaps needless to bring up that the Man from Atlantis and his motives gave rise to a lot of speculation and mere opinion, and that accordingly it is difficult, especially in light of the other things that were said about him, to be confident about the actual rather than the fabulous extent of Wilson’s undersea life; but there seems no question he spent unusual amounts of time underwater.
I must be careful, here, to separate myself distinctly from the milling of this man, Wilson, by rumor. It’s one thing to offer intrusive conjecture about a person’s recreational activities, another thing to place a person into a machine for grinding by crushing. This happened to Ted Wilson. He was discussed into dust. That’s Dubai, I suppose—a country of buzz. Maybe the secrecy of the Ruler precludes any other state of affairs, and maybe not. There is no question that spreading everywhere in the emirate are opacities that, since we are on the subject, call to my mind submarine depths. And so the place makes gossips of us whether we like it or not, and makes us susceptible to gullibility and false shrewdness. I’m not sure there is a good way to counteract this; it may even be that there arrives a moment when the veteran of the never-ending struggle for solid facts perversely becomes greener than ever. Not long ago, I heard a story about a Tasmanian tiger for sale in Satwa and half-believed it.
Ted Wilson, it turned out, had an apartment in The Situation—the apartment building where I live. His place was on the twentieth floor, two above mine. Our interaction consisted of hellos in the elevator. Then, plunging or rising, we would study the Egyptian hieroglyphs inscribed on the stainless steel sides of the car. These encounters reduced almost to nothing my curiosity about him. Wilson was a man in his forties of average height and weight, with a mostly bald head. He had the kind of face that seems to me purely Anglo-Saxon, that is, drained of all color and features, and perhaps in reaction to this drainage he was, as I noticed, a man who fiddled at growing gray-blond goatees, beards, mustaches, sideburns. There was no sign of gills or webbed fingers.
The striking thing about him was his American accent. Few Americans move here, the usual explanation being that we must pay federal taxes on worldwide income and will benefit relatively little from the fiscal advantages the United Arab Emirates offers its denizens. This theory is, I think, only partly right. A further fraction of the answer must be that the typical American candidate for expatriation to the Gulf, who might without disparagement be described as the mediocre office worker, has little instinct for emigration. To put it another way, a person usually needs a special incentive to be here—or, perhaps more accurately, to not be elsewhere—and surely this is all the more true for the American who, rather than trying his luck in California or Texas or New York, chooses to come to this strange desert metropolis. Either way, fortune will play its expected role. I suppose I say all this from experience.
In early 2007, in a New York City cloakroom, I ran into a college friend, Edmond Batros. I hadn’t thought about Eddie in years, and of course it was difficult to equate without shock this thirty-seven-year-old with his counterpart in memory. Whereas in college he’d been a chubby Lebanese kid who seemed dumbstruck by a pint of beer and whom everyone felt a little sorry for, grown-up Eddie gave every sign—pink shirt unbuttoned to the breastbone, suntan, glimmering female companion, twenty-buck tip to the coat-check girl—of being a brazenly contented man of the world. If he hadn’t approached me and identified himself, I wouldn’t have known him. We hugged, and there was a to-do about the wonderful improbability of it all. Eddie was only briefly in town and we agreed to meet the next day for dinner at Asia de Cuba. It was there, by the supposedly holographic waterfall, that we reminisced about the year we lived in a Dublin house occupied by college students who had in common only that we were not Irish: aside from me and Eddie, there was a Belgian and an Englishman and a Greek. Eddie and I were not by any stretch great pals but we had as an adventitious link the French language: I spoke it because of my francophone Swiss mother, Eddie because he’d grown up in that multilingual Lebanese way, speaking fluent if slightly alien versions of French, English, and Arabic. In Ireland we’d mutter asides to each other in French and feel that this betokened something important. I had no idea his family was worth hundreds of millions of dollars.
Now he ordered one drink after another. Like a couple of old actuaries, we could not avoid surveying the various outcomes that long-lost friends or near-friends had met with. Eddie, with his Facebook account, was much more up to speed than I. From him I learned that one poor soul had had two autistic children, and that another had intentionally fallen into traffic from an overpass near Dublin airport. As he talked, I was confronted with a strangely painful idiosyncratic memory—how, during the rugby season, a vast, chaotic crowd periodically filled the street on which our house was situated and, seemingly by a miracle of arithmetic, went without residue into the stadium at the top of the road, a fateful mass subtraction that would make me think, with my youngster’s lavish melancholy, of our species’ brave collective merriness in the face of death. Out of the stadium came from time to time the famous Irish refrain

Alive, alive-o
Alive, alive-o.

Obviously, I did not share this flashback with Eddie.
He removed a pair of sunglasses from his breast pocket and very ceremoniously put them on.
“You’ve got to be kidding me,” I said. The young Eddie had ridiculously worn these very shades at all times, even indoors. He was one of those guys for whom Top Gun was a big movie.
Eddie said, “Oh yes, I’m still rocking the Aviators.” He said, “Remember that standoff with the statistics professor?”
I remembered. This man had forbidden Eddie from wearing shades to his lectures. The interdiction had crushed Eddie. His shades were fitted with lenses for his myopia; having to wear regular spectacles would have destroyed him. I advised him, “He can fuck himself. You do your thing. It’s a free world.”
“He’s a total bastard. He’ll throw me out of the class.”
I said, “Let him! You want to wear shades, wear shades. What’s he saying—he gets to decide what you wear? Eddie, sometimes you’ve got to draw a line in the sand.”
Line in the sand? What was I talking about? What did I know about lines in the sand?
Young Eddie declared, “Je vous ai compris!” He persisted in wearing his sunglasses. The lecturer did nothing about it.
“That was a real lesson,” Eddie told me at Asia de Cuba. “Fight them on the beaches. Fight them on the landing grounds.” Removing the Ray-Bans—he preserved them as a talisman now, and had a collection of hundreds of tinted bifocals for day-to-day use; on his travels he personally hand-carried his shades in a customized photographer’s briefcase—Eddie told me that he’d taken over from his father the running of various Batros enterprises. In return I told him a little about my own situation. Either I was more revealing than I’d thought or Eddie Batros was now something of a psychologist, because soon afterward he wrote to me with a job offer. He stated that he’d wanted for some time to appoint a Batros family trustee (“to keep an eye on our holdings, trusts, investment portfolios, etc.”) but had not found a qualified person who both was ready to move to Dubai (where the Batros Group and indeed some Batros family members were nominally headquartered) and enjoyed, as such a person by definition had to, the family’s “limitless trust.” “Hoping against hope,” as he put it, he wondered if I might be open to considering the position. His e-mail asserted,

I know of no more honest man than you.

There was no reasonable basis for this statement, but I was moved by it—for a moment I wept a little, in fact. I wrote back expressing my interest. Eddie answered,

OK. You will have to meet Sandro then decide. He will get in touch with you soon.

Sandro was the older of the two Batros brothers. I’d never met him.
Right away I came up with a plan. The plan was to fly New York-[Dubai]. This is to say, I had no interest in Dubai qua Dubai. My interest was in getting out of New York. If Eddie’s job had been in Djibouti, the plan would have been to fly New York-[Djibouti].

Joseph O'Neill

About Joseph O'Neill

Joseph O'Neill - The Dog

Photo © Courtesy of the author

JOSEPH O’NEILL is the author of the novels Netherland (which won the PEN/Faulkner Award for Fiction and the Kerry Group Irish Fiction Award), This Is the Life, and The Breezes, and of a family history, Blood-Dark Track. His most recent novel, The Dog, will be published by Pantheon Books in September 2014. He lives in New York and teaches at Bard College.

Joseph O'Neill is represented by Random House Speakers Bureau (www.rhspeakers.com).



Praise for The Dog

One of Publishers Weekly Top Ten Books of 2014

"The Dog is a brilliant satire . . . [O'Neill] has a fabulous ear for language, as good as nearly anyone in American Literature."--John Freeman, The Bostion Globe

"Every page of The Dog is a little masterpiece of comedy, erudition and linguistic acrobatics."--The Washington Post

"A fine, complex portrait of a modern-day soul in despair."-- Oprah.com

"The Dog is an amusing, wry, pleasingly odd work of burnished prose and careful emotional spelunking driven by first-person voice and character and setting, which is Dubai. O'Neill gives [protagonist] X the verbal facility of a really smart lawyer and the self-awareness of a David Foster Wallace character. . . this verbosity is wonderfully light-footed and funny, and frequently poignant."--Ed Taylor, Buffalo News

This novel is often wonderfully droll, especially in its portrayal of the oddities of a city whose 'mission is to make itself indistinguishable from its airport.' Also, always amusing are the protagonist's mentally composed emails, never-to-be-sent missives in which he lists all of his grievances like an office-computer version of Saul Bellow's Herzog."--Keither Stasklewicz, Entertainment Weekly

“With consummate elegance, The Dog turns in on itself in imitation of the dreadful circling and futility of consciousness itself. Its subplots go nowhere, as in life. But, unlike life, its wit and brio keep us temporarily more alive than we usually allow ourselves to be.”––Lawrence Osborne, The New York Times Book Review
“An interesting moral complexity. . . makes [The Dog] more than a comic novel. The writing is brisk and funny, but O'Neill is also exploring deep questions about ethics and happiness in a globalized age of instant information and economic inequality. His narrator is a fascinating creation: charming and repugnant, selfless and self-absorbed, erudite and steeped in popular culture.”––Nick Romeo, The Chicago Tribune
“We’ve been waiting six years for a new book by Joseph O’Neill, after the spectacular Netherland, and it’s finally here. The Dog takes readers on a comical and philosophical journey to Dubai.”––Time Out New York
“A humorous meditation on the dialects of attention and distraction in the modern world, O’Neill’s work playfully skewers the global economy of consumption and our abstract notions of responsibility in its perpetuation.—Joshua Finnell, Library Journal (starred review)

“Shades of Kafka and Conrad permeate O’Neill’s thoughtful modern fable of exile, a sad story that comments darkly on the human condition and refuses bravely to trade on the success of Netherland.”––Kirkus Reviews (starred review)

“Pitch-perfect prose . . . Clever, witty, and profoundly insightful, this is a beautifully crafted narrative about a man undone by a soulless society.” —Publishers Weekly (starred)

Praise for Netherland
“Stunning . . . with echoes of The Great Gatsby, Fitzgerald’s masterpiece . . . A resonant meditation on the American Dream.” —Michiko Kakutani, The New York Times
“Exquisitely written . . . A large fictional achievement, and one of the most remarkable post-colonial books I have ever read . . . Netherland has a deep human wisdom.” —James Wood, The New Yorker
“I devoured it in three thirsty gulps, gulps that satisfied a craving I didn’t know I had . . . It has more life inside it than ten very good novels.” —Dwight Garner, The New York Times Book Review
“Elegant . . . Always sensitive and intelligent, Netherland tells the fragmented story of a man in exile—from home, family, and, most poignantly, from himself.” —The Washington Post Book World
Reader's Guide|About the Book|Author Biography|Discussion Questions|Suggestions

About the Book

  The questions, discussion topics, and reading list that follow are intended to enhance your reading group’s discussion of The Dog¸ bestselling author Joseph O’Neill’s darkly comic novel about a man who takes a job in the spectacularly futuristic yet oddly disconnected city of Dubai in an attempt to outrun his sorrow.

About the Guide

  From the acclaimed author of Netherland comes his eagerly anticipated, terrifically inventive new novel: a story of isolation and self-examination set in modern-day Dubai. With keen insight into the motivations and desires that drive behavior, The Dog is a droll analysis of this era of modernization and globalization, and the innately human inadequacies that linger in spite of our progress.
   After a painful split from his longtime girlfriend, the hero of The Dog is in a rut. Eager to escape the memories of his relationship—and the office environment where he and his girlfriend met—he decides to leave New York for a job offered to him by a former classmate. The narrator finds himself in the ambiguously defined role of Family Officer to an erratic and extremely wealthy family in Dubai, wherein he struggles to understand the parameters of his job and, to a greater extent, his purpose in life. His solitude is amplified by his surroundings, and a crushing feeling of culpability pervades him: he cannot shake the feeling that he is in “the doghouse,” a condition wherein guilt follows his every decision. As he finds himself increasingly immersed in the Batros family politics, the protagonist slides further into his own self-examination. With a singular perceptiveness of the sometimes idiosyncratic and other times predictable behavior of humankind, Joseph O’Neill’s The Dog is a masterful look at morality in these modern times.

About the Author

Joseph O’Neill is the author of the novels Netherland (which won the PEN/Faulkner Award for Fiction and the Kerry Group Irish Fiction Award), This Is the Life, and The Breezes, and of a family history, Blood-Dark Track. He lives in New York and teaches at Bard College.

Discussion Guides

1.   The protagonist of The Dog describes Dubai as a city of contradictions: hypermodern in some respects, but antiquated in others. How does this tension between modernity and tradition manifest throughout the novel? In what situations is the city’s dual nature most apparent? Most troubling?

2.   Discuss the protagonist’s relationship with Ali. In light of the protagonist’s own hesitations in his role as Family Officer, how would you describe the parameters of Ali’s job? How did the protagonist react to Ali’s termination?

3.   The protagonist’s interactions with Alain provide many humorous moments throughout The Dog. Describe their relationship? How does the protagonist’s understanding of wealth and privilege change based on his interactions with Alain?

4.   The concept of nationality is discussed throughout The Dog, revealing social and political inequities in Dubai. Discuss the label “bidoon.” How does this concept of “statelessness” render bidoons inferior in Dubai society? How did you interpret the protagonist’s reluctance to ask Ali about his status?

5.   Class divisions are readily apparent throughout The Dog, and often generate moral conflict. Discuss the protagonist’s guilt in regards to his esteemed position in society. What interactions cause him the most anguish? How does this relate to his feeling of being in “the doghouse”? In what ways is his privilege more pronounced in Dubai than it was in the United States?

6.   Names bear an important symbolic weight throughout The Dog. How did you interpret the protagonist’s hesitation to reveal his name? Jenn’s aversion to her own? What connections can be made between names and power?

7.   The Dog is a novel that explores the thin line between morality and immorality. How does the protagonist define morality? Would you consider him to be a moral person? In what areas of life is his moral compass most greatly challenged?

8.   Discuss the scene that starts on page 162, wherein the protagonist reveals how he and Jenn ended their relationship. How does referring to her as “un-Jenn” during this scene help you to understand her character? Based on earlier descriptions of Jenn, were you surprised by her actions? Did you have any sympathy for her? For the protagonist?

9.   The protagonist was a New York attorney. How does legalistic thinking and interpretation of events come into play throughout The Dog? How does he use logic to process business and personal affairs? Discuss the instances in which he breaks down social situations and interprets them within the scope of legality.

10.   The reader is led to believe that the protagonist’s hesitation to commit to Jenn is based on his indifference toward having children, but in his fantasy about running off with the stranger in Union Square, he mentions that he “always wanted daughters.” (page 159) Do you think this is a genuine statement, or is it borne out of his fantasy?

11.   On page 197, the protagonist asserts that he is “fully aware that country branding is as old as Genesis.” How do you interpret that statement? Why is branding so crucial to Dubai? Do the protagonist’s observations about life in the city give credence to the branding put forth by the country? In what ways are these ads misleading?

12. The protagonist’s sexual fantasies are laid out plainly throughout the novel. Why do you think he chose to use a pseudonym while patronizing prostitutes? How did these liaisons help to shape your understanding of him? His guilt?

13. The protagonist specifically states that Ollie is one of his only friends in Dubai. What makes their friendship unique? What does the protagonist value most in his friendships?

14. Social media—and the choice to participate in it—is discussed throughout The Dog. How does this manifest during the Ted Wilson incident? What complications arise when the presentation of “self” in social media does not match the presentation of “self” in real life?

15. The protagonist identifies himself as both half Swiss and an American. How does his status as an ex-pat align him more closely with the latter? Does he express a greater allegiance to either nationality—and if so, why?

16. How has the modern world challenged our understanding of nationality? How is it possible to do good when we are aware of the plight of everyone everywhere? Is Dubai really any different from the United States?

17. The Ted Wilson plotline carries throughout The Dog, revealing information about the protagonist and the social environment of Dubai as it unfolds. Given that we never meet Ted, why is he important to the plot? How does his absence open up opportunities for the protagonist to explore himself and his own feelings toward marriage, relationships, and identity?

18. Throughout the novel, the protagonist’s internal monologues reveal his inclination toward self-debasement. Did you think his actions justify his self-image? Did you consider him a likable character? A sympathetic one? Did your feelings toward him shift or change throughout your reading experience?

Suggested Readings

Don DeLillo, Cosmopolis
Jason Porter, Why Are You So Sad?
George Saunders, The Brief and Frightening Reign of Phil
Gary Shteyngart, Absurdistan
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