A fascinating look into a prolific author’s mind, especially welcome since there have not been enough English translations...
A memoir caught in the throes of linguistic biculturalism.
“My greatest fear has always been that I might leave myself open to ridicule,” writes Kallifatides, the Greek writer and translator who has spent most of his life in Sweden. “Write something so dire that even the gulls flying over Stömmen would snigger. I was more afraid of writing badly than not writing at all.” He begins at a moment that most writers experience, at times devastatingly so: the inability to write. Frantic about his writer’s block, Kallifatides meditates on the act of writing and its many different shapes. Unlike most memoirs, which follow the writer’s life more or less from start to finish (or present day), this brief book throws readers directly into the author’s exploration of his biculturalism. Born in Greece in 1938, Kallifatides immigrated in 1963 to Sweden, where he spent the majority of his life and wrote his books (in Swedish). When the memoir opens, the author is looking for ways in which he can use his experiences in Sweden to fuel his writing practice—to no avail. So he and his wife set off for Greece to revisit his childhood home and walk through the streets of his lost city. Acting as both citizen and visitor, Kallifatides is stuck between two cultures. This comes at a price, as he has forgotten much of the Greek language. “My forgetfulness was not a coincidence but evidence that I was distancing myself from myself,” he writes. Readers witness the author’s efforts to overcome his writer’s block through countless meditations on a writer’s motivation, the culture interwoven in language, and language as a tool through which identity is created. Kallifatides has written an unusual and refreshing memoir that uses critical theory to explain an individual behavior.
A fascinating look into a prolific author’s mind, especially welcome since there have not been enough English translations of his books.Pub Date: Sept. 25, 2018
ISBN: 978-1-59051-945-5
Page Count: 160
Publisher: Other Press
Review Posted Online: May 27, 2018
Kirkus Reviews Issue: June 15, 2018
Brimming with open introspection, engaging anecdotes, and gorgeous photographs, Field’s moving account sheds light on how...
A beloved actor attempts to assemble her fragmented past.
In her debut memoir, Field (b. 1946) takes to the page to explore her early life and storied acting career; she also pens an extended love letter to her mother, who died in 2011, on the author’s 65th birthday. Described by the author as “drop-your-jaw beautiful,” Margaret Morlan was discovered by a Paramount talent scout while sitting in a Pasadena Playhouse audience and instantly got a career at age 23. Affectionately called “Baa” by Field, Morlan never achieved anywhere near her eldest daughter’s screen credits, but she played a central role throughout Field’s life as both a peerless champion of and “backup generator” to her daughter’s burgeoning talents. Baa was also a complicated source of great psychological trauma, as she failed to protect her daughter from the sexual advances of her stepfather, stuntman Jock Mahoney. While the memoir details the rapid progression of Field’s childhood interest in acting to on-screen success in TV (from Gidget and The Flying Nun to winning the Emmy for Sybil in 1977) and film (for Norma Rae, she won “every award for best actress that existed in the United States”), Field’s narrative of her professional and personal achievements may be best viewed through the lens of her fraught relationship with Baa. “My cherished mother had known…something,” she writes. “What exactly that was, I didn’t want to hear, because even at that time, when I was middle-aged, I couldn’t bear the idea that she hadn’t run to my side….I had accepted the idea that I was broken in an effort to keep my mother whole.” Through acting, Field found a way to constitute herself: “By standing in Norma’s shoes, I felt my own feet. If I could play her, I could be me.”
Brimming with open introspection, engaging anecdotes, and gorgeous photographs, Field’s moving account sheds light on how playing larger-than-life figures has enabled her to keep her feet on the ground.Pub Date: Sept. 18, 2018
ISBN: 978-1-5387-6302-5
Page Count: 416
Publisher: Grand Central Publishing
Review Posted Online: Oct. 11, 2018
If the authors are serious, this is a silly, distasteful book. If they are not, it’s a brilliant satire.
The authors have created a sort of anti-Book of Virtues in this encyclopedic compendium of the ways and means of power.
Everyone wants power and everyone is in a constant duplicitous game to gain more power at the expense of others, according to Greene, a screenwriter and former editor at Esquire (Elffers, a book packager, designed the volume, with its attractive marginalia). We live today as courtiers once did in royal courts: we must appear civil while attempting to crush all those around us. This power game can be played well or poorly, and in these 48 laws culled from the history and wisdom of the world’s greatest power players are the rules that must be followed to win. These laws boil down to being as ruthless, selfish, manipulative, and deceitful as possible. Each law, however, gets its own chapter: “Conceal Your Intentions,” “Always Say Less Than Necessary,” “Pose as a Friend, Work as a Spy,” and so on. Each chapter is conveniently broken down into sections on what happened to those who transgressed or observed the particular law, the key elements in this law, and ways to defensively reverse this law when it’s used against you. Quotations in the margins amplify the lesson being taught. While compelling in the way an auto accident might be, the book is simply nonsense. Rules often contradict each other. We are told, for instance, to “be conspicuous at all cost,” then told to “behave like others.” More seriously, Greene never really defines “power,” and he merely asserts, rather than offers evidence for, the Hobbesian world of all against all in which he insists we live. The world may be like this at times, but often it isn’t. To ask why this is so would be a far more useful project.
If the authors are serious, this is a silly, distasteful book. If they are not, it’s a brilliant satire.Pub Date: Sept. 1, 1998
ISBN: 0-670-88146-5
Page Count: 430
Publisher: Viking
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 1998
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