by Robert Kolker ‧ RELEASE DATE: April 7, 2020
A family portrait of astounding depth and empathy.
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One family’s history reveals the mystery of schizophrenia.
In a riveting and disquieting narrative, Kolker (Lost Girls: An Unsolved American Mystery, 2013) interweaves a biography of the Galvin family with a chronicle of medicine’s treatment of, and research into, schizophrenia. Don and Mimi Galvin had 12 children—10 boys and two girls—born between 1945 and 1965. Religious beliefs—both parents were Catholic—were not the only reason for their fecundity. Mimi seemed to crave the distinction of “being known as a mother who could easily accomplish such a thing.” In addition, Kolker speculates, the children may have assuaged an abiding feeling of abandonment, including by a husband more focused on his career than his family. Mimi was a perfectionist who controlled every aspect of the children’s lives: chores, enriching after-school activities, and feelings, which she believed should best be repressed. Insisting that they were raising a model family, the Galvins refused to acknowledge problems, such as violent fights among the older brothers, which the parents dismissed as merely roughhousing. The other brothers felt lost, ignored, “less than safe, treated like a number and not a person.” The eldest, Donald, was the first to exhibit signs of schizophrenia, with bizarre behavior that repeatedly landed him in mental hospitals; soon, five brothers followed, all with the same diagnosis, manifested somewhat differently, including sibling sexual abuse. Meanwhile, Mimi pretended everything was normal—until she could not hide the family’s suffering. With each diagnosis, “she became more of a prisoner—confined by secrets, paralyzed by the power that the stigma of mental illness held over her.” Kolker deftly follows the psychiatric, chemical, and biological theories proposed to explain schizophrenia and the various treatments foisted upon the brothers. Most poignantly, he portrays the impact on the unafflicted children of the brothers’ illness, an oppressive emotional atmosphere, and the family’s festering secrets. By the 1980s, the Galvins became subjects of researchers investigating a genetic basis for the illness; those extensive medical records inform this compelling tale.
A family portrait of astounding depth and empathy.Pub Date: April 7, 2020
ISBN: 978-0-385-54376-7
Page Count: 416
Publisher: Doubleday
Review Posted Online: Dec. 14, 2019
Kirkus Reviews Issue: Jan. 15, 2020
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SEEN & HEARD
SEEN & HEARD
by Ta-Nehisi Coates ‧ RELEASE DATE: July 8, 2015
This moving, potent testament might have been titled “Black Lives Matter.” Or: “An American Tragedy.”
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The powerful story of a father’s past and a son’s future.
Atlantic senior writer Coates (The Beautiful Struggle: A Father, Two Sons, and an Unlikely Road to Manhood, 2008) offers this eloquent memoir as a letter to his teenage son, bearing witness to his own experiences and conveying passionate hopes for his son’s life. “I am wounded,” he writes. “I am marked by old codes, which shielded me in one world and then chained me in the next.” Coates grew up in the tough neighborhood of West Baltimore, beaten into obedience by his father. “I was a capable boy, intelligent and well-liked,” he remembers, “but powerfully afraid.” His life changed dramatically at Howard University, where his father taught and from which several siblings graduated. Howard, he writes, “had always been one of the most critical gathering posts for black people.” He calls it The Mecca, and its faculty and his fellow students expanded his horizons, helping him to understand “that the black world was its own thing, more than a photo-negative of the people who believe they are white.” Coates refers repeatedly to whites’ insistence on their exclusive racial identity; he realizes now “that nothing so essentialist as race” divides people, but rather “the actual injury done by people intent on naming us, intent on believing that what they have named matters more than anything we could ever actually do.” After he married, the author’s world widened again in New York, and later in Paris, where he finally felt extricated from white America’s exploitative, consumerist dreams. He came to understand that “race” does not fully explain “the breach between the world and me,” yet race exerts a crucial force, and young blacks like his son are vulnerable and endangered by “majoritarian bandits.” Coates desperately wants his son to be able to live “apart from fear—even apart from me.”
This moving, potent testament might have been titled “Black Lives Matter.” Or: “An American Tragedy.”Pub Date: July 8, 2015
ISBN: 978-0-8129-9354-7
Page Count: 176
Publisher: Spiegel & Grau
Review Posted Online: May 5, 2015
Kirkus Reviews Issue: July 1, 2015
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by Ta-Nehisi Coates ; illustrated by Jackie Aher
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SEEN & HEARD
BOOK TO SCREEN
BOOK TO SCREEN
by Elie Wiesel & translated by Marion Wiesel ‧ RELEASE DATE: Jan. 16, 2006
The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the...
Elie Wiesel spent his early years in a small Transylvanian town as one of four children.
He was the only one of the family to survive what Francois Maurois, in his introduction, calls the "human holocaust" of the persecution of the Jews, which began with the restrictions, the singularization of the yellow star, the enclosure within the ghetto, and went on to the mass deportations to the ovens of Auschwitz and Buchenwald. There are unforgettable and horrifying scenes here in this spare and sombre memoir of this experience of the hanging of a child, of his first farewell with his father who leaves him an inheritance of a knife and a spoon, and of his last goodbye at Buchenwald his father's corpse is already cold let alone the long months of survival under unconscionable conditions.
Pub Date: Jan. 16, 2006
ISBN: 0374500010
Page Count: 120
Publisher: Hill & Wang
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: Jan. 15, 2006
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by Elie Wiesel ; edited by Alan Rosen
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by Elie Wiesel ; illustrated by Mark Podwal
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by Elie Wiesel ; translated by Marion Wiesel
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