Jong-Fast is the Joan Rivers for slackers: she delights in pushing the boundaries of libel only to retreat, all in the...
From the author of the debut novel Normal Girl (2000): shallow, neurotic, very funny essays that continue to milk the writer’s relations to famous mother Erica Jong and grandfather Howard Fast.
“I knew I was going to have to prostitute this experience,” Jong-Fast acknowledges by way of mock apology for dishing the dirt on the famous people she encounters during her years of growing up, “and pretty much everything else that’s ever happened to me.” Straightaway, she dispenses with niceties: she loves lying, is “mildly maladjusted,” greedy for publicity, “somewhat self-obsessed,” and shamelessly devoted to name-dropping, especially dropping her own family’s names if that can win her food or flattery. When she first meets the new girl and future supermodel Sophie Dahl at the tony Manhattan Day School, her opening line is “Do you know who my mom is?” Some of the sacred cows Jong-Fast relishes butchering include her grandfather Howie (a novelist jailed in the ’50s for refusing to name names before HUAC; now, in his eighties, he’s marrying his forty-year-old secretary—“The bride wore a white suit. The groom wore Depends”); the various unsavory boyfriends of her mother, the so-called Queen of Erotica; the shrinks her mother employed to help the husky Molly slim down; and family friend Joan Collins, who commits the horrific faux pas of announcing that thirteen-year-old Molly was “too fat to go on Valentino’s yacht,” thus ensuring ten more years of therapy. Jong-Fast is sarcastic but not stupid, and she wields an acid pen—the “muumuu-wearing fascist” psychiatrist to the stars who helps her lose weight is dubbed “Adolf Hitler,” and one in the succession of dubious secretaries for her mom at their home on East 94th Street is “Marie Osmond,” for her “incredible value system.”
Jong-Fast is the Joan Rivers for slackers: she delights in pushing the boundaries of libel only to retreat, all in the spirit of good clean fun. After all, what else does she have to write about?Pub Date: April 12, 2005
ISBN: 1-4000-6144-X
Page Count: 208
Publisher: Villard
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 1, 2005
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
A potent depiction of grief, but also a book lacking the originality and acerbic prose that distinguished Didion’s earlier...
A moving record of Didion’s effort to survive the death of her husband and the near-fatal illness of her only daughter.
In late December 2003, Didion (Where I Was From, 2003, etc.) saw her daughter, Quintana Roo Dunne, hospitalized with a severe case of pneumonia, the lingering effects of which would threaten the young woman’s life for several months to come. As her daughter struggled in a New York ICU, Didion’s husband, John Gregory Dunne, suffered a massive heart attack and died on the night of December 30, 2003. For 40 years, Didion and Dunne shared their lives and work in a marriage of remarkable intimacy and endurance. In the wake of Dunne’s death, Didion found herself unable to accept her loss. By “magical thinking,” Didion refers to the ruses of self-deception through which the bereaved seek to shield themselves from grief—being unwilling, for example, to donate a dead husband’s clothes because of the tacit awareness that it would mean acknowledging his final departure. As a poignant and ultimately doomed effort to deny reality through fiction, that magical thinking has much in common with the delusions Didion has chronicled in her several previous collections of essays. But perhaps because it is a work of such intense personal emotion, this memoir lacks the mordant bite of her earlier work. In the classics Slouching Toward Bethlehem (1968) and The White Album (1979), Didion linked her personal anxieties to her withering dissection of a misguided culture prey to its own self-gratifying fantasies. This latest work concentrates almost entirely on the author’s personal suffering and confusion—even her husband and daughter make but fleeting appearances—without connecting them to the larger public delusions that have been her special terrain.
A potent depiction of grief, but also a book lacking the originality and acerbic prose that distinguished Didion’s earlier writing.Pub Date: Oct. 19, 2005
ISBN: 1-4000-4314-X
Page Count: 192
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 2005
IN THE NEWS
PERSPECTIVES
SEEN & HEARD
A unique, incandescent memoir.
A lyrical, soul-stirring memoir about how an acclaimed Native American poet and musician came to embrace “the spirit of poetry.”
For Harjo, life did not begin at birth. She came into the world as an already-living spirit with the goal to release “the voices, songs, and stories” she carried with her from the “ancestor realm.” On Earth, she was the daughter of a half-Cherokee mother and a Creek father who made their home in Tulsa, Okla. Her father's alcoholism and volcanic temper eventually drove Harjo's mother and her children out of the family home. At first, the man who became the author’s stepfather “sang songs and smiled with his eyes,” but he soon revealed himself to be abusive and controlling. Harjo's primary way of escaping “the darkness that plagued the house and our family” was through drawing and music, two interests that allowed her to leave Oklahoma and pursue her high school education at the Institute of American Indian Arts in Santa Fe. Interaction with her classmates enlightened her to the fact that modern Native American culture and history had been shaped by “colonization and dehumanization.” An education and raised consciousness, however, did not spare Harjo from the hardships of teen pregnancy, poverty and a failed first marriage, but hard work and luck gained her admittance to the University of New Mexico, where she met a man whose “poetry opened one of the doors in my heart that had been closed since childhood.” But his hard-drinking ways wrecked their marriage and nearly destroyed Harjo. Faced with the choice of submitting to despair or becoming “crazy brave,” she found the courage to reclaim a lost spirituality as well as the “intricate and metaphorical language of my ancestors.”
A unique, incandescent memoir.Pub Date: July 9, 2012
ISBN: 978-0-393-07346-1
Page Count: 208
Publisher: Norton
Review Posted Online: April 29, 2012
Kirkus Reviews Issue: May 15, 2012
SEEN & HEARD
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