On the Clock

4,Claire Baglin's On the Clock packs a family saga, a penetrating picture of social inequality, and a coming-of-age story into a compact tale told in two alternating strands. The first follows the 20-year-old narrator's summer job at a fast food franchise and the other shows us moments from her childhood with her family, with a particular focus on her hapless, infuriating, good-hearted father, a low-paid but devoted electrician in a factory with an upside-down smile. These two skeins sketch out in swift turns two stories of underappreciated work: one covering several decades, the other a summer; one constituting a sort of life, the other a stopgap on the way to something different (the narrator is a college student). With a keen eye for eloquent details and sharp ear for workplace jargon, her dry humor, and a crisp compelling style, Baglin's depiction of their lives is particularly rich, at once affectionate and alienated. Working the alternating strands in a way reminiscent of Georges Perec's W or the The Memory of Childhood, the past is remarkably vivid in On the Clock: her childhood memories of their bleak small town and of summer vacations spent at campgrounds by the sea in Brittany. And the present blazes in scenes of the young woman's current fast-food trial: the awful boss, the nasty manager, and all the tedium and horror of dead-end work: Slowly the oven door opens and a nursery-school tune announces that the salad rolls can come out [and] I'm mired in the heart of pointlessness. I stick a straw into the whipped cream but don't take off the end of the paper wrapper so they'll know it hasn't been used, I'm conscientious.