The narrative of "Gold Coast" weaves through the intricate tapestry of racial and age differences, anchored within the societal shifts of the late 1960s. James Alan McPherson masterfully depicts an America alive with cultural change, characterized by the presence of hippies, the undercurrent of drug culture, and the restlessness of middle-aged men captivated by the rise of the miniskirt among young women. Against this backdrop, McPherson delves into the deeper undercurrents of race and loneliness, capturing the surface and substance of the era.

Central to the story is Robert, whose burgeoning writing career symbolizes the optimism growing among African Americans due to the civil rights advancements of the decade. The narrative explores the relationship between Robert and Jean, a union that tests the bounds of an ostensibly liberal society. Sullivan, a character observing this relationship, encapsulates the societal tensions, noting, "it is in the nature of things that liberal people will tolerate two interracial hippies more than they will an intelligent, serious-minded mixed couple." This observation highlights the threat such thoughtful relationships pose to the entrenched social order, which remains resistant to change despite the era's progressive facade.

The couple's experience underscores the persistent racial divide, symbolically represented in a subway scene. As they stand between segregated groups of whites and blacks, their isolation becomes palpable. The tension in the air is mirrored in the metaphorical division of the subway car, suggesting a world still grappling with integration. The poignant moment where "we looked at each other . . . and there was nothing left to say" encapsulates a profound disconnect and the societal barriers they face. Thus, McPherson's work reveals the complexities of the time, emphasizing the loneliness that arises from straddling two worlds that remain stubbornly apart.

The friendship between Robert and Sullivan is fraught with tension, primarily due to their age difference rather than racial differences. Sullivan, the older man, delights in sharing his wisdom with Robert, whom he perceives as needing guidance to navigate the world. However, Robert, a young black man, possesses a keen understanding of the evolving society around him, something Sullivan seems to lack. In Sullivan’s nostalgic recollections of Boston, filled with its vibrant Irish political figures, there is a hint of longing for a past that no longer exists. This disconnect with current times is starkly highlighted when a hippie in Harvard Square mocks them with, “Don’t break any track records, Mr. and Mrs. Speedy Molasses.”

Robert’s respect for Sullivan is complex and occasionally strained. When Jean is present, Robert perceives Sullivan through her critical lens, seeing him as shabby and uncomfortable. The Sullivans’ apartment, with its pervasive smell of "dogs and cats and age and death," becomes a symbol of mortality that Robert wishes to avoid, as it forces him to face his own fears about aging and death. Sullivan’s frequent reminder that “nothing really matters except not being old and being alive and having potential to dream about, and not being alone,” resonates with Robert, yet also reflects the old man’s own fears and regrets.

During one of Sullivan’s drunken late-night monologues, Robert finds himself distracted by the sound of a girl’s laugh on the street—a sound that embodies youth and the allure of future possibilities. This moment underscores the chasm between them: the contrast between Sullivan’s past failures and Robert’s potential success. Despite his efforts, Robert cannot shake the resentment he feels towards Sullivan, nor the guilt over this resentment. This age-induced barrier ultimately prevents Robert from reaching out to Sullivan, leaving their friendship unresolved at the story’s end.

James Alan...