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Split

A CHILD, A PRIEST, AND THE CATHOLIC CHURCH

A raw, cathartic read that unflinchingly tackles issues of rape, shame, and, ultimately, forgiveness.

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Abused as a young girl by a Catholic priest, debut memoirist Dispenza sets out to reassemble her life’s “invisible pieces of spirituality and sexuality.”

Beneath scenes of a mostly happy childhood—lessons from her aunt in buying fine china, choosing the best seats on the school bus her mother drove—Dispenza harbored a terrible secret: from the age of 7, she was repeatedly raped by her priest, Father George Neville Rucker. After her first harrowing encounter, Dispenza studied her reflection in the school bathroom only to find that the “little girl at the sink and the little girl in the mirror were no longer connected.” Over the next 40 years, Dispenza wrestled with the repercussions of this split from “Little Mary.” As an adolescent, anything involving sex or the body—menstruation, masturbation, making out—filled her with unbearable shame. In September 1958, after ignoring her parents’ pleas to marry or attend college, 18-year-old Dispenza became a nun. Prayer, manual work, and silence dominated her next 15 years until she once more felt “split and broken in pieces.” From the convent, she went on to serve as principal at several Catholic schools in Washington state, all while struggling to be sexually intimate with the men and women she dated. Her life might have proceeded in this painful, repressed fashion had she not attended a 1989 workshop for the Catholic Archdiocese of Seattle called “Sexual Misconduct on the Part of the Clergy.” Here and at a subsequent meeting of women molested by the clergy, Dispenza’s memories came flooding back. Soon thereafter, with the help of therapy, she embraced two crucial facts of her life—“Father Rucker had raped me, and I loved women”—that set her on a path of confrontation, retribution, and the reconciliation of her committed Catholicism with her true self. Like the life it depicts, Dispenza’s memoir consists of one courageous act after another. After coming out, Dispenza recounts scrambling the letters of “depression” to spell “I pressed on.” Her stirring narrative embodies just that: overcoming trauma to bravely take a stand against injustice.

A raw, cathartic read that unflinchingly tackles issues of rape, shame, and, ultimately, forgiveness.

Pub Date: Nov. 5, 2014

ISBN: 978-0-9896563-2-0

Page Count: 242

Publisher: CreateSpace

Review Posted Online: July 22, 2015

Kirkus Reviews Issue: Sept. 15, 2015

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DYLAN GOES ELECTRIC!

NEWPORT, SEEGER, DYLAN, AND THE NIGHT THAT SPLIT THE SIXTIES

An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s...

Music journalist and musician Wald (Talking 'Bout Your Mama: The Dozens, Snaps, and the Deep Roots of Rap, 2014, etc.) focuses on one evening in music history to explain the evolution of contemporary music, especially folk, blues, and rock.

The date of that evening is July 25, 1965, at the Newport Folk Festival, where there was an unbelievably unexpected occurrence: singer/songwriter Bob Dylan, already a living legend in his early 20s, overriding the acoustic music that made him famous in favor of electronically based music, causing reactions ranging from adoration to intense resentment among other musicians, DJs, and record buyers. Dylan has told his own stories (those stories vary because that’s Dylan’s character), and plenty of other music journalists have explored the Dylan phenomenon. What sets Wald's book apart is his laser focus on that one date. The detailed recounting of what did and did not occur on stage and in the audience that night contains contradictory evidence sorted skillfully by the author. He offers a wealth of context; in fact, his account of Dylan's stage appearance does not arrive until 250 pages in. The author cites dozens of sources, well-known and otherwise, but the key storylines, other than Dylan, involve acoustic folk music guru Pete Seeger and the rich history of the Newport festival, a history that had created expectations smashed by Dylan. Furthermore, the appearances on the pages by other musicians—e.g., Joan Baez, the Weaver, Peter, Paul, and Mary, Dave Van Ronk, and Gordon Lightfoot—give the book enough of an expansive feel. Wald's personal knowledge seems encyclopedic, and his endnotes show how he ranged far beyond personal knowledge to produce the book.

An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s personal feelings about Dylan's music or persona.

Pub Date: July 25, 2015

ISBN: 978-0-06-236668-9

Page Count: 368

Publisher: Dey Street/HarperCollins

Review Posted Online: May 15, 2015

Kirkus Reviews Issue: June 1, 2015

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NUTCRACKER

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

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