A thought-provoking, semicontroversial scrutiny of modern parenting practices.

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THE MYTH OF THE SPOILED CHILD

CHALLENGING THE CONVENTIONAL WISDOM ABOUT CHILDREN AND PARENTING

Kohn (Feel-Bad Education: And Other Contrarian Essays on Children and Schooling, 2011, etc.) attacks the status quo on child-rearing and parenting.

Nearly every generation, from Socrates to today, has been convinced that its children are being raised by parents who are too permissive. But as the author expertly analyzes, the definition of "permissiveness" has shifted as society has evolved: "It doesn't signify humane treatment or a willingness to nurse infants when they're hungry; it means coddling kids in a way that's unhealthy by definition." However, as Kohn also points out, there are many who believe children are being raised by overly protective parents who stifle children's natural curiosity and sense of learning. Via research and interviews, Kohn closely examines the current media-backed perceptions of permissive and controlling parenting and contrasts them with actual data, deflating popular beliefs that children are now more spoiled and unruly than ever. He delves into sports and education and inspects the pros and cons of encouraging children via rewards, trophies, honors and grading systems, concluding that "what matters isn't how motivated people are but how people are motivated." Adults and children often lose themselves in projects and endeavors they love due to the joy they bring, not the money, trophies or rewards they afford them. Kohn points out that the child who doesn't complacently follow orders in school might actually be the person who succeeds later in life, as that child has maintained a sense of self and of curiosity and not blindly given over all control to others. Kohn intelligently rationalizes how trusting one's child and supporting him or her with love and nonpunitive guidance builds a sense of safety, allowing the child to venture forth and make cooperative and respectful decisions.

A thought-provoking, semicontroversial scrutiny of modern parenting practices.

Pub Date: April 1, 2014

ISBN: 978-0-7382-1724-6

Page Count: 288

Publisher: Da Capo Lifelong

Review Posted Online: Feb. 19, 2014

Kirkus Reviews Issue: March 1, 2014

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A vivid sequel that strains credulity.

THE ESCAPE ARTIST

Fremont (After Long Silence, 1999) continues—and alters—her story of how memories of the Holocaust affected her family.

At the age of 44, the author learned that her father had disowned her, declaring her “predeceased”—or dead in his eyes—in his will. It was his final insult: Her parents had stopped speaking to her after she’d published After Long Silence, which exposed them as Jewish Holocaust survivors who had posed as Catholics in Europe and America in order to hide multilayered secrets. Here, Fremont delves further into her tortured family dynamics and shows how the rift developed. One thread centers on her life after her harrowing childhood: her education at Wellesley and Boston University, the loss of her virginity to a college boyfriend before accepting her lesbianism, her stint with the Peace Corps in Lesotho, and her decades of work as a lawyer in Boston. Another strand involves her fraught relationship with her sister, Lara, and how their difficulties relate to their father, a doctor embittered after years in the Siberian gulag; and their mother, deeply enmeshed with her own sister, Zosia, who had married an Italian count and stayed in Rome to raise a child. Fremont tells these stories with novelistic flair, ending with a surprising theory about why her parents hid their Judaism. Yet she often appears insensitive to the serious problems she says Lara once faced, including suicidal depression. “The whole point of suicide, I thought, was to succeed at it,” she writes. “My sister’s completion rate was pathetic.” Key facts also differ from those in her earlier work. After Long Silence says, for example, that the author grew up “in a small city in the Midwest” while she writes here that she grew up in “upstate New York,” changes Fremont says she made for “consistency” in the new book but that muddy its narrative waters. The discrepancies may not bother readers seeking psychological insights rather than factual accuracy, but others will wonder if this book should have been labeled a fictionalized autobiography rather than a memoir.

A vivid sequel that strains credulity.

Pub Date: Feb. 11, 2020

ISBN: 978-1-982113-60-5

Page Count: 352

Publisher: Gallery Books/Simon & Schuster

Review Posted Online: Oct. 21, 2019

Kirkus Reviews Issue: Nov. 15, 2019

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A miscellany of paternal pride (and frustration) darkened by the author’s increasing realizations of his mortality.

DAD'S MAYBE BOOK

Ruminations and reminiscences of an author—now in his 70s—about fatherhood, writing, and death.

O’Brien (July, July, 2002, etc.), who achieved considerable literary fame with both Going After Cacciato (1978) and The Things They Carried (1990), returns with an eclectic assembly of pieces that grow increasingly valedictory as the idea of mortality creeps in. (The title comes from the author’s uncertainty about his ability to assemble these pieces in a single volume.) He begins and ends with a letter: The initial one is to his first son (from 2003); the terminal one, to his two sons, both of whom are now teens (the present). Throughout the book, there are a number of recurring sections: “Home School” (lessons for his sons to accomplish), “The Magic Show” (about his long interest in magic), and “Pride” (about his feelings for his sons’ accomplishments). O’Brien also writes often about his own father. One literary figure emerges as almost a member of the family: Ernest Hemingway. The author loves Hemingway’s work (except when he doesn’t) and often gives his sons some of Papa’s most celebrated stories to read and think and write about. Near the end is a kind of stand-alone essay about Hemingway’s writings about war and death, which O’Brien realizes is Hemingway’s real subject. Other celebrated literary figures pop up in the text, including Elizabeth Bishop, Andrew Marvell, George Orwell, and Flannery O’Connor. Although O’Brien’s strong anti-war feelings are prominent throughout, his principal interest is fatherhood—specifically, at becoming a father later in his life and realizing that he will miss so much of his sons’ lives. He includes touching and amusing stories about his toddler sons, about the sadness he felt when his older son became a teen and began to distance himself, and about his anguish when his sons failed at something.

A miscellany of paternal pride (and frustration) darkened by the author’s increasing realizations of his mortality.

Pub Date: Oct. 14, 2019

ISBN: 978-0-618-03970-8

Page Count: 384

Publisher: Houghton Mifflin Harcourt

Review Posted Online: July 28, 2019

Kirkus Reviews Issue: Aug. 15, 2019

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