A textured remembrance of a traumatic childhood that also offers affecting moments of beauty.
Ouellette entwines moments of personal pain with a lifelong awe of nature in this memoir.
The book opens with a fragment about the author’s mother, now in her late 60s, moving back home to Duluth, Minnesota, in search of “peace and quiet.” However, Ouellette’s formative years were anything but peaceful. In 1970, two years after she was born, her parents divorced, marking the beginning of an itinerant childhood. The family regularly moved, at one point relocating from Minnesota to Wyoming because of her mother’s new husband’s job. He had violent tendencies and played a “tickling game” with 4-year-old Ouellette, she says, which ended with his rubbing his hands between her legs. The author also describes childhood moments when she was “kicked out” of the family and made to live in the basement, with her mother pretending she was invisible. Other nonlinear fragments describe the author's forging a life for herself—navigating marriage, becoming a mother, and attending a sexual abuse support group. A key characteristic of Ouellette’s writing is her preoccupation with nature, as she calmly skips between accounts of her past and factual information about the natural world: “A tumbleweed is a plant known as a diaspore.” On occasion, these observations serve as distractions from personal pain; in other instances, they mirror the author’s emotional state: “you might also want to be a tumbleweed. Just look at them, lacy and weightless, rising and falling on rivers of air.” She juxtaposes these poetic moments with vivid, distressing passages, such as an account of Ouellette’s mother's hurling a frying pan at the author and yelling, “I should have aborted you when I had the chance.” The memoir also eloquently describes how the effects of abuse resonate into adulthood: “Scars don’t lose their feeling. They become more tender to the touch.” The presentation of the author’s life story as a series of fragments may strike some readers as idiosyncratic; however, this structure poignantly reflects a self-described “brokenness”: “you can tear a thing apart and tape it back together, and it will still be torn and whole.”
A textured remembrance of a traumatic childhood that also offers affecting moments of beauty.Pub Date: Jan. 4, 2021
ISBN: N/A
Page Count: 172
Publisher: Split Lip Press
Review Posted Online: Jan. 3, 2021
Kirkus Reviews Issue: Feb. 15, 2021
Review Program: Kirkus Indie
A virtuoso performance and an ode to an undervalued medium created by two talented artists.
The veteran actor, comedian, and banjo player teams up with the acclaimed illustrator to create a unique book of cartoons that communicates their personalities.
Martin, also a prolific author, has always been intrigued by the cartoons strewn throughout the pages of the New Yorker. So when he was presented with the opportunity to work with Bliss, who has been a staff cartoonist at the magazine since 1997, he seized the moment. “The idea of a one-panel image with or without a caption mystified me,” he writes. “I felt like, yeah, sometimes I’m funny, but there are these other weird freaks who are actually funny.” Once the duo agreed to work together, they established their creative process, which consisted of working forward and backward: “Forwards was me conceiving of several cartoon images and captions, and Harry would select his favorites; backwards was Harry sending me sketched or fully drawn cartoons for dialogue or banners.” Sometimes, he writes, “the perfect joke occurs two seconds before deadline.” There are several cartoons depicting this method, including a humorous multipanel piece highlighting their first meeting called “They Meet,” in which Martin thinks to himself, “He’ll never be able to translate my delicate and finely honed droll notions.” In the next panel, Bliss thinks, “I’m sure he won’t understand that the comic art form is way more subtle than his blunt-force humor.” The team collaborated for a year and created 150 cartoons featuring an array of topics, “from dogs and cats to outer space and art museums.” A witty creation of a bovine family sitting down to a gourmet meal and one of Dumbo getting his comeuppance highlight the duo’s comedic talent. What also makes this project successful is the team’s keen understanding of human behavior as viewed through their unconventional comedic minds.
A virtuoso performance and an ode to an undervalued medium created by two talented artists.Pub Date: Nov. 17, 2020
ISBN: 978-1-250-26289-9
Page Count: 272
Publisher: Celadon Books
Review Posted Online: Aug. 30, 2020
Kirkus Reviews Issue: Sept. 15, 2020
PERSPECTIVES
A top-flight nonfiction debut from a unique artist.
The acclaimed director displays his talents as a film critic.
Tarantino’s collection of essays about the important movies of his formative years is packed with everything needed for a powerful review: facts about the work, context about the creative decisions, and whether or not it was successful. The Oscar-winning director of classic films like Pulp Fiction and Reservoir Dogs offers plenty of attitude with his thoughts on movies ranging from Animal House to Bullitt to The Texas Chainsaw Massacre to The Big Chill. Whether you agree with his assessments or not, he provides the original reporting and insights only a veteran director would notice, and his engaging style makes it impossible to leave an essay without learning something. The concepts he smashes together in two sentences about Taxi Driver would take a semester of film theory class to unpack. Taxi Driver isn’t a “paraphrased remake” of The Searchers like Bogdanovich’s What’s Up, Doc? is a paraphrased remake of Hawks’ Bringing Up Baby or De Palma’s Dressed To Kill is a paraphrased remake of Hitchcock’s Psycho. But it’s about as close as you can get to a paraphrased remake without actually being one. Robert De Niro’s taxi driving protagonist Travis Bickle is John Wayne’s Ethan Edwards. Like any good critic, Tarantino reveals bits of himself as he discusses the films that are important to him, recalling where he was when he first saw them and what the crowd was like. Perhaps not surprisingly, the author was raised by movie-loving parents who took him along to watch whatever they were watching, even if it included violent or sexual imagery. At the age of 8, he had seen the very adult MASH three times. Suddenly the dark humor of Kill Bill makes much more sense. With this collection, Tarantino offers well-researched love letters to his favorite movies of one of Hollywood’s most ambitious eras.
A top-flight nonfiction debut from a unique artist.Pub Date: Nov. 1, 2022
ISBN: 978-0-06-311258-2
Page Count: 400
Publisher: Harper/HarperCollins
Review Posted Online: Oct. 31, 2022
Kirkus Reviews Issue: Dec. 1, 2022
SEEN & HEARD
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