Bears enlightening and articulate witness to the sheer force of an oft-misunderstood disease.
Times Literary Supplement columnist Greenberg chronicles his 15-year-old daughter Sally’s manic breakdown in vivid yet surprisingly detached prose.
In July 1996, the author awoke to find a furiously annotated copy of Shakespeare’s Sonnets and loose pages of Sally’s poetry strewn about their Greenwich Village apartment. That night, the police escorted his daughter home for “acting crazy” in the streets. Greenberg and second wife Pat pieced the story together from Sally’s breathless, incoherent account. She had been struck by a vision: We are all born geniuses, but society robs us of the gift. When the police pulled up, she was on a mission to communicate this to anyone who would listen—even people in the speeding cars she was convinced she could thwart with her hand. Michael and Pat took the “feral, glitter-eyed” Sally to the nearest emergency room, where a psychiatrist gave a preliminary diagnosis of bipolar 1 and admitted her to the psych ward. In his text, her father deals with the shock of Sally’s condition by portraying it in the context of literary madness. Greenberg quotes Lowell’s descriptions of his own manic episodes, cites Spinoza and alludes to Plato, Byron, Hemingway and Woolf. This might seem aggrandizing, but the author is trying to demonstrate that Sally’s insights are sometimes justified, while at the same time avoiding James Joyce’s fatal error of enabling his daughter’s madness by participating in her visions. Sally spent 24 days in the ward, flanked by her quirky family and a tableau of other colorful characters, before she returned home, highly medicated and bravely determined to believe her therapist’s assertion that psychosis is not an identity. Greenberg’s talent for description occasionally runs away from him in a narrative that could be slightly tighter, but his erudite portrait of bipolar disease as experienced from both inside and out is dazzling. Sally’s own precocious descriptions of her mania serve as no small aid.
Bears enlightening and articulate witness to the sheer force of an oft-misunderstood disease.Pub Date: Sept. 1, 2008
ISBN: 978-1-59051-191-6
Page Count: 248
Publisher: Other Press
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 15, 2008
BOOK REVIEW
A captivating, redemptive chronicle of a year in which Smith looked intently into the abyss.
This chronicle of a chaotic year filled with deep losses and rich epiphanies finds the writer and performer covering a whole lot of ground.
In terms of the calendar, Smith’s latest memoir has a tighter focus than its predecessors, M Train (2015) and Just Kids (2010), which won the National Book Award. The titular year is 2016, a year that would begin just after the author turned 69 and end with her turning 70. That year, Smith endured the death of her beloved friend Sandy Pearlman, the music producer and manager with whom she would “have coffee at Caffé Trieste, peruse the shelves of City Lights Bookstore and drive back and forth across the Golden Gate listening to the Doors and Wagner and the Grateful Dead”; and the decline of her lifelong friend and kindred spirit Sam Shepard. She held vigil for Pearlman at his hospital deathbed, and she helped Shepard revise his final manuscript, taking dictation when he could no longer type. Throughout, the author ponders time and mortality—no surprise considering her milestone birthday and the experience of losing friends who have meant so much to her. She stresses the importance of memory and the timeless nature of a person’s spirit (her late husband remains very much alive in these pages as well). Seeing her own reflection, she thinks, “I noticed I looked young and old simultaneously.” She refers to herself as the “poet detective,” and this particular year set her on a quixotic quest, with a mysterious companion unexpectedly reappearing amid a backdrop of rock touring, lecture touring, vagabond traveling, and a poisonous political landscape. “I was still moving within an atmosphere of artificial brightness with corrosive edges,” she writes, “the hyperreality of a polarizing pre-election mudslide, an avalanche of toxicity infiltrating every outpost.”
A captivating, redemptive chronicle of a year in which Smith looked intently into the abyss.Pub Date: Sept. 24, 2019
ISBN: 978-0-525-65768-2
Page Count: 192
Publisher: Knopf
Review Posted Online: June 24, 2019
Kirkus Reviews Issue: July 15, 2019
SEEN & HEARD
Her biographer, James Westcott, once said: “every time she tells a story, it gets better,” and one can’t help but wait in...
Legendary performance artist Abramovic unveils her story in this highly anticipated memoir.
When she was growing up, the author lived in an environment of privilege in Yugoslavia, which was on the verge of ruin. Her parents, two fervent communist partisans and loyal officers during Josip Broz Tito’s rule, were not the warmest people. Abramovic was put under the care of several people, only to be taken in by her grandmother. “I felt displaced and I probably thought that if I walked, it meant I would have to go away again somewhere,” she writes. Ultimately, she carried this feeling of displacement throughout most, if not all, of her career. Many remember The Artist Is Present, her 2010 performance at the Museum of Modern Art in New York during which she sat in front of museumgoers for 736 hours, but her work started long before then. As a woman who almost single-handedly launched female performance art, the author has spent the better part of her life studying the different ways in which the body functions in time and space. She pushed herself to explore her body’s limits and her mind’s boundaries (“I [have] put myself in so much pain that I no longer [feel] any pain”). For example, she stood in front of a bow and arrow aimed at her heart with her romantic and performance partner of 12 years, Ulay. She was also one of the first people to walk along the Great Wall of China, a project she conceived when secluded in aboriginal Australia. While the author’s writing could use some polishing, the voice that seeps through the text is hypnotizing, and readers will have a hard time putting the book down and will seek out further information about her work.
Her biographer, James Westcott, once said: “every time she tells a story, it gets better,” and one can’t help but wait in anticipation of what she is concocting for her next tour de force.Pub Date: Oct. 25, 2016
ISBN: 978-1-101-90504-3
Page Count: 384
Publisher: Crown Archetype
Review Posted Online: Aug. 20, 2016
Kirkus Reviews Issue: Sept. 1, 2016
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