A second type of novel - better? worse? - emerges midway through Freedom

Jonathan Franzen introduces a new and possibly the dominant plot element in "Freedom" toward the end of the second long section (2004) as burned-out 40ish Indie rocker Richard lunches with his old college pal and estranged best friend, Walter (central figure in first part of book) and (new character) Walter's beautiful and enamored assistant, Lalitha. Franzen's terrific writing sags a bit in this portion of the book, as he uses this conversation to unspool a great swath of plot: wealthy industrialist has set up an environmental foundation - Walter's the director - to save an endangered bird (cerulean warbler, pictured strikingly on the cover, and remarked upon in all Franzen interviews that note his interest in bird watching), but the foundation seems to have some nefarious ulterior motives, like clearing land for coal mining, which Walter excuses or ignores. In other words, Walter has sold out his soul. Richard is both proud of Walter for attracting an acolyte like Lalitha and immensely jealous, wanting Lalitha's intentions (he always competes with the hapless Walter) and wonder about the state of the marriage (Patty is in the background in this section, torn by guilt). The influences in this section of the novel range from Roth (the transcribed interview of Richard, with his snarky answers to the student's questions, could come from a tortured Rothian artist) and, who knows?, maybe to Stieg Larsson, with the clumsy unfolding of the plot mechanics - but hoping the writing gets back on track as we probe deeper into the process of Walter's downfall. But it does seem to be a different kind of novel emerging nearly midway through the book. Better? Worse? Not sure.