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THE DIFFERENCE BETWEEN SEEDS AND STONES

This moving, holistic elegy for a love gone too soon traces a survivor’s journey.

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A woman recounts the year after she lost her husband to cancer in this grief memoir.

“A stone is a history, a seed a promise,” writes Lightmark at the close of her book, but they actually represent the same thing: testaments to enduring and healing from profound loss. The loss occurred in 1993, when the love of her life, Jim, died from cancer. Their union was cosmic, with the two meeting when they were both 33 years old at Emerson College in England in the early ’80s. Both were seeking something more—Jim, single and childless, wanted to pivot from architecture to teaching, and Lightmark, married at 18 with two teenagers, felt she had “never really grown up” and sought self-actualization. Jim imparted to the author a “deep, almost scary, thrill,” and though they returned to their lives in the United States separately, they kept in touch. Lightmark eventually divorced her first husband, and she and Jim married. They shared roughly a decade of joy, during which the author earned her bachelor’s degree, moved to Vermont, and welcomed the opportunity to co-teach kindergarten at a Waldorf school. But in 1992, a checkup found a cancerous mole on Jim’s back that eventually spread to his brain, and, as his life ended, the author tried to figure out how to live hers alone. While cherishing the love that had helped her grow, Lightmark recognized her self-actualization wasn’t complete. She returned to England and traveled to Scotland to attend a grief retreat; consulted with Quang, a Vietnamese doctor (whose story warrants a book of its own); and began gardening—all of which eventually led to a writing career and a phoenix-like renewal.

The memoir has a diaristic form split into three sections (“Body,” “Soul,” and “Spirit”), beginning in September 1993—when Jim was in a hospice—and carrying through to the first anniversary of his death, with a handful of end chapters that span the years since, culminating in an epilogue. Interspersed are recollections of the author’s dreams, rendered in italics, that are wounding as they often center on Jim’s impending or recent death. Emerson was founded largely on the anthroposophy teachings of philosopher Rudolf Steiner, and Lightmark comes back to his teachings throughout the book. They focus on spiritual development and the humanity of connections in this life and beyond. Amid so many memoirs about grief and loss, Lightmark’s work offers prose that deftly evokes the intensity of a bond severed: “How can Jim be gone when I have only to ask, and my mouth still knows how he tastes?...In a somewhere, the space between heart and thought, Jim is.” There are references to prominent grief texts, but Lightmark largely focuses on the minutiae of her own story. Jim never appears to truly leave her, and she recounts seeing him in dreams, feeling his presence, and holding him in her heart. Often the loss of loved ones cleaves a part of people, leaving them less than they were before, struggling toward a new normal. Easier said than done, but Lightmark’s healing came from embracing her situation and finding a new, fruitful path: “Death is not failure; death can be your best work.”

This moving, holistic elegy for a love gone too soon traces a survivor’s journey.

Pub Date: Feb. 15, 2023

ISBN: 9798987720905

Page Count: 278

Publisher: LightmarkArts

Review Posted Online: March 20, 2024

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TANQUERAY

A blissfully vicarious, heartfelt glimpse into the life of a Manhattan burlesque dancer.

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A former New York City dancer reflects on her zesty heyday in the 1970s.

Discovered on a Manhattan street in 2020 and introduced on Stanton’s Humans of New York Instagram page, Johnson, then 76, shares her dynamic history as a “fiercely independent” Black burlesque dancer who used the stage name Tanqueray and became a celebrated fixture in midtown adult theaters. “I was the only black girl making white girl money,” she boasts, telling a vibrant story about sex and struggle in a bygone era. Frank and unapologetic, Johnson vividly captures aspects of her former life as a stage seductress shimmying to blues tracks during 18-minute sets or sewing lingerie for plus-sized dancers. Though her work was far from the Broadway shows she dreamed about, it eventually became all about the nightly hustle to simply survive. Her anecdotes are humorous, heartfelt, and supremely captivating, recounted with the passion of a true survivor and the acerbic wit of a weathered, street-wise New Yorker. She shares stories of growing up in an abusive household in Albany in the 1940s, a teenage pregnancy, and prison time for robbery as nonchalantly as she recalls selling rhinestone G-strings to prostitutes to make them sparkle in the headlights of passing cars. Complemented by an array of revealing personal photographs, the narrative alternates between heartfelt nostalgia about the seedier side of Manhattan’s go-go scene and funny quips about her unconventional stage performances. Encounters with a variety of hardworking dancers, drag queens, and pimps, plus an account of the complexities of a first love with a drug-addled hustler, fill out the memoir with personality and candor. With a narrative assist from Stanton, the result is a consistently titillating and often moving story of human struggle as well as an insider glimpse into the days when Times Square was considered the Big Apple’s gloriously unpolished underbelly. The book also includes Yee’s lush watercolor illustrations.

A blissfully vicarious, heartfelt glimpse into the life of a Manhattan burlesque dancer.

Pub Date: July 12, 2022

ISBN: 978-1-250-27827-2

Page Count: 192

Publisher: St. Martin's

Review Posted Online: July 27, 2022

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LOVE, PAMELA

A juicy story with some truly crazy moments, yet Anderson's good heart shines through.

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The iconic model tells the story of her eventful life.

According to the acknowledgments, this memoir started as "a fifty-page poem and then grew into hundreds of pages of…more poetry." Readers will be glad that Anderson eventually turned to writing prose, since the well-told anecdotes and memorable character sketches are what make it a page-turner. The poetry (more accurately described as italicized notes-to-self with line breaks) remains strewn liberally through the pages, often summarizing the takeaway or the emotional impact of the events described: "I was / and still am / an exceptionally / easy target. / And, / I'm proud of that." This way of expressing herself is part of who she is, formed partly by her passion for Anaïs Nin and other writers; she is a serious maven of literature and the arts. The narrative gets off to a good start with Anderson’s nostalgic memories of her childhood in coastal Vancouver, raised by very young, very wild, and not very competent parents. Here and throughout the book, the author displays a remarkable lack of anger. She has faced abuse and mistreatment of many kinds over the decades, but she touches on the most appalling passages lightly—though not so lightly you don't feel the torment of the media attention on the events leading up to her divorce from Tommy Lee. Her trip to the pages of Playboy, which involved an escape from a violent fiance and sneaking across the border, is one of many jaw-dropping stories. In one interesting passage, Julian Assange's mother counsels Anderson to desexualize her image in order to be taken more seriously as an activist. She decided that “it was too late to turn back now”—that sexy is an inalienable part of who she is. Throughout her account of this kooky, messed-up, enviable, and often thrilling life, her humility (her sons "are true miracles, considering the gene pool") never fails her.

A juicy story with some truly crazy moments, yet Anderson's good heart shines through.

Pub Date: Jan. 31, 2023

ISBN: 9780063226562

Page Count: 256

Publisher: Dey Street/HarperCollins

Review Posted Online: Dec. 5, 2022

Kirkus Reviews Issue: Jan. 1, 2023

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