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THE MEMOIR PROJECT

Name: THE MEMOIR PROJECT
Author: Marion Roach Smith
ISBN: 978-0-446-58484-5

A THOROUGHLY NON-STANDARDIZED TEXT FOR WRITING & LIFE

by Marion Roach Smith ‧ RELEASE DATE: June 9, 2011

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Smith (The Roots of Desire, 2006, etc.) helps kick-start the writing process.

Everybody has a story to tell. Some people dream of putting their stories in a book while others want to blog, write letters or record family history. Smith, who is also a workshop teacher, gives the honest nuts and bolts of memoir writing. She does not use standard and stale exercises or prompts to fill the pages of this slim volume, but rather a blend of anecdotes and unusual tips to help would-be writers “vomit up a draft.” What makes this guide stand out from the rest is its complete lack of academic posturing. Smith does not constantly drop famous names or drone on about Paris. Instead, the author uses real, plainspoken examples from her life and writing, such as the memorable story of her mother’s struggle with Alzheimer’s. Seasoned writers should proceed with caution: Anyone who has taken Composition 101 will have heard much of this advice before, such as “write what you know” and “show, don’t tell.” But readers looking for a push in the right direction will find Smith’s instructions highly accessible and inspiring. Her first-person narrative style is breezy and friendly, and the beginning lays out the three overarching rules for memoir writing. Chapters have catchy subtitles, with easy-to-understand examples, from how to choose a subject to style to editing. Other advice includes a list of go-to reference materials and how to navigate writing about sex. Spare but practical resource for beginners—a good reference for library programs or community workshops.

Pub Date: June 9, 2011

ISBN: 978-0-446-58484-5

Page Count: 128

Publisher: Grand Central Publishing

Review Posted Online: May 19, 2011

Kirkus Reviews Issue: June 1, 2011

Categories:

GENERAL NONFICTION

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NUTCRACKER

by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996

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This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)

Pub Date: Oct. 28, 1996

ISBN: 0-15-100227-4

Page Count: 136

Publisher: Harcourt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 1996

Categories:

GENERAL NONFICTION

- BOOK REVIEW
THE NUTCRACKER AND THE MOUSE KING
by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson

- BOOK REVIEW
THE NUTCRACKER
by E.T.A. Hoffmann & illustrated by Julie Paschkis

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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

by Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955

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An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.