A finely crafted, affecting memoir of two brothers.
Set in midcentury New York City, Starger’s (Wally’s World, 2005, etc.) family memoir describes life with his autistic brother.
The author’s older brother, Melvyn Douglas Starger, was born in 1933 in the Bronx to Jewish, Eastern European parents. Despite initially appearing to be a happy, normal child, Melvyn showed unusual behaviors as he grew, symptoms of what subsequent generations would term autism. Steve Starger, born eight years later, grew up in the shadow of his brother’s otherness and his parents’ inability to handle it, particularly once Melvyn began showing signs of other mental health issues. “Some families,” recalls Starger, “when faced with crippling mental disabilities in a family member, bond together and face their futures in some kind of harmony. Other families fall apart, unable to face the fact of a terrible intruder in their midst. My family went the latter route.” The author wasn’t without issues of his own, a perennial misfit who was similar to his brother in many ways and yet who could only sometimes connect with him in what he terms Melvyn’s “Bizarro World,” borrowing a term from Melvyn’s beloved Superman comics. With this memoir, Starger explores their relationship to each other and to their parents, both as children and young adults, including Starger’s escape from his family into the music and drugs of the 1960s and Melvyn’s eventual full-time institutionalization. Starger, an experienced journalist, vividly details the times and places he inhabited over the course of his life. His depictions of his brother are both sympathetic and cleareyed, resulting in many heartbreaking passages: “Melvyn couldn’t respond to any of it except with an occasional shy smile when someone paid attention to him in a positive, loving way. He stuttered so terribly that it seemed his jaws would crack at the effort to speak.” This peculiar combination of family dysfunction, comic books, 1960s counterculture, and mental health makes for a unique, thoroughly engaging memoir that gets at the tragedy and dignity of our collective isolation from one another.
A finely crafted, affecting memoir of two brothers.Pub Date: Nov. 30, 2018
ISBN: 978-1-5255-3518-5
Page Count: 192
Publisher: FriesenPress
Review Posted Online: Jan. 17, 2019
Kirkus Reviews Issue: Feb. 15, 2019
Review Program: Kirkus Indie
A brief but sometimes knotty and earnest set of studies best suited for Shakespeare enthusiasts.
A brisk study of 20 of the Bard’s plays, focused on stripping off four centuries of overcooked analysis and tangled reinterpretations.
“I don’t really care what he might have meant, nor should you,” writes Smith (Shakespeare Studies/Oxford Univ.; Shakespeare’s First Folio: Four Centuries of an Iconic Book, 2016, etc.) in the introduction to this collection. Noting the “gappy” quality of many of his plays—i.e., the dearth of stage directions, the odd tonal and plot twists—the author strives to fill those gaps not with psychological analyses but rather historical context for the ambiguities. She’s less concerned, for instance, with whether Hamlet represents the first flower of the modern mind and instead keys into how the melancholy Dane and his father share a name, making it a study of “cumulative nostalgia” and our difficulty in escaping our pasts. Falstaff’s repeated appearances in multiple plays speak to Shakespeare’s crowd-pleasing tendencies. A Midsummer Night’s Dream is a bawdier and darker exploration of marriage than its teen-friendly interpretations suggest. Smith’s strict-constructionist analyses of the plays can be illuminating: Her understanding of British mores and theater culture in the Elizabethan era explains why Richard III only half-heartedly abandons its charismatic title character, and she is insightful in her discussion of how Twelfth Night labors to return to heterosexual convention after introducing a host of queer tropes. Smith's Shakespeare is eminently fallible, collaborative, and innovative, deliberately warping play structures and then sorting out how much he needs to un-warp them. Yet the book is neither scholarly nor as patiently introductory as works by experts like Stephen Greenblatt. Attempts to goose the language with hipper references—Much Ado About Nothing highlights the “ ‘bros before hoes’ ethic of the military,” and Falstaff is likened to Homer Simpson—mostly fall flat.
A brief but sometimes knotty and earnest set of studies best suited for Shakespeare enthusiasts.Pub Date: April 21, 2020
ISBN: 978-1-5247-4854-8
Page Count: 368
Publisher: Pantheon
Review Posted Online: Dec. 17, 2019
Kirkus Reviews Issue: Jan. 15, 2020
BOOK REVIEW
BOOK REVIEW
Naughty good fun from an impossibly sardonic rogue, quickly rising to Twainian stature.
The undisputed champion of the self-conscious and the self-deprecating returns with yet more autobiographical gems from his apparently inexhaustible cache (Naked, 1997, etc.).
Sedaris at first mines what may be the most idiosyncratic, if innocuous, childhood since the McCourt clan. Here is father Lou, who’s propositioned, via phone, by married family friend Mrs. Midland (“Oh, Lou. It just feels so good to . . . talk to someone who really . . . understands”). Only years later is it divulged that “Mrs. Midland” was impersonated by Lou’s 12-year-old daughter Amy. (Lou, to the prankster’s relief, always politely declined Mrs. Midland’s overtures.) Meanwhile, Mrs. Sedaris—soon after she’s put a beloved sick cat to sleep—is terrorized by bogus reports of a “miraculous new cure for feline leukemia,” all orchestrated by her bitter children. Brilliant evildoing in this family is not unique to the author. Sedaris (also an essayist on National Public Radio) approaches comic preeminence as he details his futile attempts, as an adult, to learn the French language. Having moved to Paris, he enrolls in French class and struggles endlessly with the logic in assigning inanimate objects a gender (“Why refer to Lady Flesh Wound or Good Sir Dishrag when these things could never live up to all that their sex implied?”). After months of this, Sedaris finds that the first French-spoken sentiment he’s fully understood has been directed to him by his sadistic teacher: “Every day spent with you is like having a cesarean section.” Among these misadventures, Sedaris catalogs his many bugaboos: the cigarette ban in New York restaurants (“I’m always searching the menu in hope that some courageous young chef has finally recognized tobacco as a vegetable”); the appending of company Web addresses to television commercials (“Who really wants to know more about Procter & Gamble?”); and a scatological dilemma that would likely remain taboo in most households.
Naughty good fun from an impossibly sardonic rogue, quickly rising to Twainian stature.Pub Date: June 1, 2000
ISBN: 0-316-77772-2
Page Count: 288
Publisher: Little, Brown
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 2000
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