REVIEW or retrospective

‘Saddest Music Ever Written’

September 4, 2010 | 7 Comments

Review: Thomas Larson’s hybrid narrative on a classic composition. The Saddest Music Ever Written: The Story of Samuel Barber’s “Adagio for Strings” by Thomas Larson. Pegasus Books. 262 pages It’s the soundtrack at the climax of Oliver Stone’s Platoon, and was played in countless memorial services for the victims of 9/11. You may not know the title or its composer, but you know—everyone on this planet knows—the pensive, foreboding tune: those ever-rising violins as if a spirit is ascending, the …

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‘Ron Carlson Writes a Story’

August 1, 2010 | 7 Comments

Review of a fine little book on how to sit there and get work done. When people ask me the personal-experience question, my response is that I write from my personal experiences, whether I’ve had them or not. At first, this sounds like a joke and people laugh, but I’m not joking. Regardless of where I got the experience (or the story “idea”), I treat it personally; if it’s not personal, I don’t want to be involved. . . . …

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‘The Art of Time in Memoir’

July 26, 2010 | 8 Comments

Sven Birkerts views “double vantage point” as genre’s signature. Life is not what one lived, but what one remembers and how one remembers it in order to recount it.—Gabriel Garcia Marquez The Art of Time in Memoir: Then, Again by Sven Birkerts. Graywolf. 194 pages What’s the difference between a novel and a memoir? The question isn’t as dumb as it may appear. A novel can be autobiographical, drawn completely from life remembered; a memoir is of course made of memory …

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Annie Dillard’s ‘Living By Fiction’ — a review and appreciation

July 9, 2010 | 11 Comments

Annie Dillard first published Living By Fiction in 1982. She might have called it Living by Literature because although it’s about her love affair with reading fiction in particular, she says more about nonfiction in a few asides and by implication than some books entirely on the topic.

Her categories of “traditional” and “contemporary modernist” approaches, of “fine” prose and “plain” prose styles, cross genres as well. In fact, Living by Fiction enabled me better to appreciate and to understand David Shields’s less coherent and useful Reality Hunger for what it is: a modernist’s aesthetic.

Dillard prefers “contemporary modernist” work herself (in her lexicon, that’s postmodernism), but she’s knowing in her explanation of the forces—human, societal, economic—that drive writers into the middle ground. She observes that most writers are working there, including excellent ones, somewhere on the bell curve between traditional and modernist approaches, between fine prose and plain. Most people “write largely traditional fiction.”

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Review: ‘Name All the Animals’

March 28, 2010 | 6 Comments

Name All the Animals: A Memoir by Alison Smith. Scribner. 319 pages. In 1984, a small, happy family lives in Rochester, New York: a resolute, devout mother; a dreamy, spiritual father; a quiet, competent boy; a watchful, bookish girl. But they’re on the brink of disaster, and, almost immediately, it happens: one day in late July the boy, eighteen, dies in a fiery automobile crash. Nothing will ever be the same. They become secretive, walled off their separate grieving, as …

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Review: ‘Lit’ by Mary Karr

March 12, 2010 | 6 Comments

Her family drank. As a girl she sat with her father in bars and sipped from his beer cans. On her first trip home as a college freshman, at Christmas, her father picked her up at the bus station and offered her a swig of the whiskey he’d hidden under his truck’s seat. “The bottle gleamed in the air between us,” Mary Karr writes in her latest memoir, Lit. “I took the whiskey, planning a courtesy sip. But the aroma stopped me just as my tongue touched the glass mouth. The warm silk flowered in my mouth and down my gullet, after which a little blue flame of pleasure roared back up my spine. A poof of sequins went sparkling through my middle.”

Until then, in high school and college, drugs had been her preferred escape. But that day in the truck, her birthright of drink claimed her. She dropped out of Macalester College—which had admitted the poor girl from a redneck Texas town in the first place, she says, out of pity and oversight—at the end of her sophomore year. Why? She didn’t know, at the time. But it’s hard to keep on track when you feel empty and lost.

Karr’s family was epically dysfunctional. Her mother was often drunk and was disordered in some major narcissistic way that could flare into psychosis. What parental love Karr felt seemed to come from her father, who as a dedicated alcoholic wasn’t reliable and who likewise neglected her. In this atmosphere, in which she never got “that sense of acceptance and security” kids need, she and her older sister had to raise themselves as best they could.

In Lit Karr looks back at herself from the vantage point of twenty years of sobriety; we know she’s in a safe place and so can enjoy her harrowing pilgrimage. I don’t envy Karr her material, however plucky her voice and chipper her attitude as she stares into the abyss—but my gosh what a delicious book this is.

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Review: ‘Old Friend from Far Away’

February 20, 2010 | 8 Comments

Old Friend from Far Away: The Practice of Writing Memoir by Natalie Goldberg. Free Press. 309 pages Books on writing fall into two broad categories: how-to and inspirational. Natalie Goldberg’s Writing Down the Bones is solidly in the latter tradition, and I suppose so is Old Friend From Far Away. Yet Old Friend is ultimately highly practical, for it captures the spirit of writing and the essence of memoir. I think I tend to be kind of . . . …

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