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Who Am I?

HOW MY DAUGHTER TAUGHT ME TO LET GO AND LIVE AGAIN

While providing some insights into mental illness and abuse, this work becomes too mired in the maneuvers of a father to...

A debut memoir offers a straightforward account of an emotionally abusive marriage.

Cyrulewski begins her book with a brief, intense scene: She can’t stop crying. She feels she’s a terrible mother and that her daughter would be better off without her. She wants to die. This glimpse of postpartum depression and anxiety may ring true for many new mothers, and pulls a reader into the story. But rather than examining this condition, the work explores a different subject. While Cyrulewski writes about her admittance to a psychiatric ward after the birth of Madelyne, her narrative focuses on her relationship with Tyler, her husband, then ex, and her daughter’s father. The author recounts how they met and quickly married. She also relates many early warning signs: Tyler, a recovering drug addict, used their wedding money to pay a debt she didn’t know he had. Verbally abusive almost from the start, he refused to help around the house and made her feel as if she were to blame for everything that went wrong. Yet he always apologized and she was swayed—to the point that she caved into his pleas to have a child just to save the marriage. Halfway through the account, Cyrulewski discovers that Tyler likely has narcissistic personality disorder, a condition causing a warped sense of self-importance, often leading to exploitative and abusive relationships. While this could be relevant for women trapped in similar circumstances, the volume unfortunately centers on Tyler. Though the author sheds some light on the insidious pattern of emotional abuse, she fails to delve deeply enough into her own mental state, or conversely, broaden her view beyond her own experience to show why she and many others stay in such relationships. Indeed, the second half of the volume, after Cyrulewski files for divorce, is so weighed down by copious details about Tyler’s actions (legal and otherwise) and failures as a parent that it reads less like a memoir and more like a defense brief. But throughout her ordeal, the author finds solace in Madelyne: “My daughter is my strength, my happiness, my love.”

While providing some insights into mental illness and abuse, this work becomes too mired in the maneuvers of a father to engage a broad readership.

Pub Date: July 17, 2014

ISBN: 978-1-62694-151-9

Page Count: 252

Publisher: Black Opal Books

Review Posted Online: July 24, 2016

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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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TO THE ONE I LOVE THE BEST

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

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.

Pub Date: Feb. 23, 1955

ISBN: 0670717797

Page Count: -

Publisher: Viking

Review Posted Online: Oct. 25, 2011

Kirkus Reviews Issue: Feb. 1, 1955

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