Showing posts with label Darin Strauss. Show all posts
Showing posts with label Darin Strauss. Show all posts

celebrating Patricia Hampl and other fine memoirists in HANDLING THE TRUTH

Thursday, November 1, 2012

In returning the proof pages of Handling the Truth to Gotham yesterday, I relinquished all further control over the story.  No more changes.  No allowable regrets.  The book will soon be set in stone and released next August.

One of my greatest joys, in writing Handling the Truth, was the chance it gave me to celebrate the many memoirs—true memoirs, not autobiographies—that have inspired me throughout the years.  Natalie Kusz is there—the author of the first memoir I ever read.  C.K. Williams.  Marie Arana.  Mary Karr.  Anthony Shadid.  bell hooks.  Katrina Kenison.  Darin Strauss.  Dani Shapiro.  Rahna Reiko Rizzuto.  Buzz Bissinger.  Colleen Mondor.  Sy Montgomery.  Chris Offutt.  Elizabeth McCracken.  Lucy Grealy.  So many others. 

But no book about the making of memoir would ever be complete without a celebration of Patricia Hampl, who has done so much to shape the form.  Here, above, is a glimpsed moment.

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Celebrating the National Book Critics Circle Award Nominees

Tuesday, January 25, 2011

I never read nearly as much as I'd like to read—my multiple worlds are perpetually colliding, fracturing time. But I was so gratified to learn that, on this year's list of NBCC nominees, many of the books I'd loved best and celebrated here, on my blog, are being equally celebrated by the judges.  In Autobiography, there's Patti Smith's remarkable Just Kids, Darin Strauss's deeply moving Half a Life, and the thoughtful, provocative Hiroshima in the Morning, by my much-loved friend, Rahna Reiko Rizzuto.  In Criticism, there's Elif Batuman's The Possessed and Ander Monson's Vanishing Point.  I'd put all five books on my Penn syllabus months ago, and here they are—proven, lifted, upheld.

A huge congratulations to them all, and, especially, to my dear friend, Reiko.  I've linked to my own reflections about these books here, should you be interested in how they affected me early on.

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Half a Life/Darin Strauss: Reflections

Sunday, September 19, 2010

Dignity is a word I have long associated with Darin Strauss.  His refined mind and sensibilities were on display in novels like Chang and Eng.  A certain quietude pervaded interviews.  When I learned that Strauss was sending a memoir into the world, a memoir entrusted to McSweeney's (and hence, in some fashion, to the multiply talented and deeply generous Dave Eggers), I knew for certain what I'd be reading next.

I read Half a Life this morning, grateful for every white-steeped page.  It is, as you must have heard by now, the story of an accidental death—the story of what happened one day when Strauss set out to play some "putt putt" with his high school friends.  He was 18, behind the wheel of his father's Oldsmobile.  On the margin of the road, two cyclists pedaled forward.  Of a sudden, there was a zag, a knock, an "hysterical windshield." A cyclist, a girl from Strauss's school, lay dying on the road. She'd crossed two lanes of highway to reach Strauss's car.  He braked, incapable of forestalling consequences.

It was forever.  It was always.  A girl had died.  A boy had lived.  Strauss spent his college years, his twenties, his early thirties incapable of reconciling himself to the facts, of entrusting them to friends.  There's much he can't remember perfectly.  There are gaps, white space, breakage—all of which, in this McSweeney's production, is rendered with utmost decency—the thoughts broken into small segments, big breaths (blank pages) taken in between.  There is knowing here, not shouting.  There is an exploration of guilt, and no bravado. 

Half a Life sits now, on my shelf, beside Gail Caldwell's Let's Take the Long Way Home—two memoirs that transcend precisely because they are so quiet, so well considered, so honorable. These books, along with Rahna Reiko Rizzuto's Hiroshima in the Morning, give me hope that memoir, the form, is finding its center again.  There may not be any sure-fired truths, but there are consequences.  There may be stories, but they are always tangled.  There may be ache, but there is solace, too.  There may be drama, but in drama's wake, we stand.  In need of understanding.  In need of one another.

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