Posts Tagged ‘memoirs’
November 9, 2015 | by Lena Dunham
Mary Karr’s The Liars’ Club turns twenty.
The first time I met Mary Karr I was, quite frankly, stunned. She was not what I had expected, not that I knew what to expect. I had read all her books, was familiar with the basics of her biography—including any gossip I could find, which is scant in the literary world, even when it comes to best-selling and notoriously dynamic authors—and had even seen her author photo, so I am not sure what came as such a shock to me except for something I might nebulously refer to as her “essence.”
I was standing in the middle of a party, lost, anxious, and sweaty in a slew of people who would all qualify as name-drops among certain bookish weirdos, when I received a firm tap on the shoulder. I spun around to find a petite brunette smiling about six inches too close to my face, if you’re following traditional social protocols. “I’m Mary Karr and I love you, honey.” Read More »
October 27, 2015 | by Sadie Stein
The British call it Brick Lit: that genre of travel literature in which a sophisticatedly jaded man, woman, or couple falls in love with a crumbling farmhouse in some exotic, rural locale and in the comic struggle to restore said farmhouse, and via encounters with the native populace, gleans profound lessons about life, love, and local color. —Jonathan Miles, Garden and Gun
By any standard, Judy Corbett’s 2005 memoir, Castles in the Air, falls under the Brick Lit rubric. And its subtitle—“The Restoration Adventures of Two Young Optimists and a Crumbling Old Mansion”—may not inspire confidence in its novelty. And yet, I recommend it without reservation.
I came across the book in a British catalog when I was an editorial assistant and put in an order for this title and several others. I’ve never cared much about renovation stories—This Old House always left me cross-eyed with boredom—but it looked fun. It was, but it was much more than that. Read More »
October 12, 2015 | by Dan Piepenbring
Michael Clune’s Gamelife is an excellent new memoir about computer games. We could tell you all about it, but there are better means of description: as Clune writes, “computer games taught me how to imagine something so it lasts, so it feels real.”
With that in mind, we’ve gotten together with Farrar, Straus and Giroux to present Gamelife, the world’s first computer game about a memoir about computer games. No floppy disk required—simply click below to begin.
If you’d rather hear more about the book the old-fashioned way, I’ll be talking to Clune tomorrow night, Tuesday, October 13, at McNally Jackson. The event begins at 7:30 p.m.
September 4, 2015 | by Sadie Stein
“My mother killed herself on the first day of spring.” That’s the first line of Hesper Anderson’s memoir, South Mountain Road: A Daughter’s Journey of Discovery. Please persevere. And don’t be put off by the subtitle—even if the squishy word “journey” gives you hives, the book won’t. I promise. This is a straightforward recommendation—a prolonged staff pick, if you like.
If “September Song”—discussed recently in these pages—feels inherently melancholy, the standard comes by this honestly: its lyricist, Maxwell Anderson, led a life marked by sadness. The autobiographical Morning, Winter, and Night (written under a pseudonym) recounts a gothic childhood filled with abuse. And before he began his long and successful career as a Pulitzer Prize–winning playwright, Anderson lost a number of jobs over his politics. Read More »
February 20, 2015 | by Sadie Stein
In honor of the Metropolitan Museum’s birthday, I’d like to suggest a fun weekend read: Thomas Hoving’s Making the Mummies Dance: Inside the Metropolitan Museum of Art. Hoving, who died in 2009, became the Met’s director in 1967, and in his decade-long tenure he made the museum the world-class institution (and moneymaker) it is today, influencing the whole industry in the process. It was Hoving who created the Fifth Avenue plaza, the set of shallow steps that lead up to the museum’s doors, and the big banners that announce exhibitions. He added gift shops and splashy special exhibitions, courted donors like crazy, and expanded the physical space into Central Park—facing opposition all the way.
Hoving’s biggest innovation, though, was his approach to acquisition: rather than build up a deep, conservative collection of small pieces, he decided to splurge on big-ticket masterpieces from all over the world. As a result, the Met is now home to such pieces as Velázquez’s Portrait of Juan de Pareja and the Temple of Dendur, and since his time, directors have followed this model. Read More »
December 12, 2014 | by Hunter Braithwaite
The autobiography of one of France’s most notorious criminals.
On the morning of November 2, 1979, a gold BMW pulled up behind a blue truck stopped at a stoplight in Porte de Clignancourt, in northern Paris. After a moment, a tarp covering the back of the truck opened to reveal four men with rifles. They opened fire in unison, blasting holes into the windshield. The man driving the BMW was hit fifteen times; the woman in the passenger seat was blinded and crippled by the attack. Her pet poodle died, too. And that was the end of Jacques Mesrine, France’s public enemy number one.
For nearly twenty years, Mesrine had humiliated the country’s judicial system with repeated high-profile bank robberies, murders, and daring prison escapes. But now the police had caught up to him. His bloodied corpse laid limp in his car, left out for the paparazzi. One of the officers tossed Mesrine’s wig, riddled with bullets, onto the car hood like roadkill into a dumpster. That last detail comes from one of the many YouTube videos you can watch of the shooting’s aftermath, waiting to be compared with Jean-François Richet’s 2008 two-part film Mesrine: Killer Instinct and Mesrine: Public Enemy Number One, both starring Vincent Cassel. And through the bullet holes of mythology, you can see in this tableau a bit of Arthur Penn’s Bonnie and Clyde, and a little bit of Jean-Paul Belmondo dying on the pavement, calling Jean Seberg a bitch.
This was a fitting death—and has been a fitting afterlife—for Mesrine. He was France’s most famous criminal not only because of his crimes but for the way he hot-wired the machinery of fame. While he was on the most-wanted list, he gave interviews and was photographed for the cover of Paris Match. Two years before his assassination, Mesrine wrote his autobiography, The Death Instinct, while incarcerated in the inescapable La Santé Prison, from which he later escaped. It was 1977, a bleak time for culture and politics: in England, it was “God Save the Queen,” with Johnny Rotten whinnying “no future” into recorded oblivion; in Germany, it was the Red Army Faction, their crimes, and their deaths in Stammheim Prison. For many in France, a few decades out of existentialism, the late seventies were a time of startling political conservatism, a time when the hopes of ’68 were being actively erased. It was this regime of erasure that Mesrine fought against, and that killed him two years later. Read More »