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Showing posts with label Memoir. Show all posts
Showing posts with label Memoir. Show all posts

Monday, February 16, 2015

Girl in a Band: A memoir by Kim Gordon, book review: Notes from the bass line

Nevertheless, it’s a question that she answers at length in her frank and bittersweet memoir. Along with chronicling her early life in the California suburbs, her art school days and her parallel careers as a visual artist, Gordon addresses head-on the demands foisted upon female musicians working in a largely male domain.

These demands came as much from Gordon herself as from others. What did people see when they saw her on stage? Should she be feminine or androgynous? Should she move centre-stage or lurk in the shadows? These were things that both irritated and intrigued her, and it’s this alertness that gives Girl in a Band its power.

It’s also, at times, stingingly funny. She doesn’t mince her words as she recalls working with Courtney Love and compares the singer’s narcissistic and sociopathic tendencies to those of her own brother, Keller, a paranoid schizophrenic who taunted Gordon as a child. She is properly hilarious about Smashing Pumpkins’ Billy Corgan whom she writes off as “a crybaby”.

Elsewhere, there’s a flavour of Patti Smith’s memoir Just Kids in Gordon’s early years as a struggling visual artist in late Seventies New York. For a while she slept on Cindy Sherman’s floor and later sub-let a loft from Jenny Holzer. Like Smith, she took jobs in bookstores and diners to survive. Later came a receptionist’s job at an art gallery, which led to her moving in the same social circles as Julian Schnabel and Jeff Koons. Unlike many of her musical contemporaries, Gordon believed that art could encapsulate anything, whether dance, clothes, painting, or music. It’s this open-mindedness that yielded the colourful life recounted here.

It’s also a life recounted through the lens of her most significant relationship – that with her bandmate Thurston Moore. The disintegration of their 30-year marriage in 2011 also signalled the end of Sonic Youth, so it’s no wonder that anger and heartbreak spill from the pages. “I did feel some compassion for Thurston,” she notes in a devastating final chapter on his infidelity. “I was sorry for the way he had lost his marriage, his band, his daughter, his family, our life together – and himself. But that is a lot different from forgiveness.”


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Friday, May 10, 2013

SAUL BELLOW'S HEART: A Son's Memoir

Thursday, March 28, 2013

Book Buzz: 'Fifty Shades' casting, Katy Perry memoir

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Will Emma Watson star as Anastasia Steele? (Photo: Joel Ryan AP)

Here's a look at what's buzzing in the book world today:

Emma Watson in 'Fifty Shades': Could Emma Watson be the actress to bring Anastasia Steele to life? Hackers have leaked several documents which note that Watson is attached to star in the upcoming film adaption of E.L. James' Fifty Shades of Grey.

Geithner book: Former Treasury Secretary Timothy Geithner is writing a book that will be a "behind-the-scenes account of the American response to the global financial crisis," to be published in 2014.

Man Asian prize: Malaysian novelist Tan Tan Eng has won the Man Asian prize for his book The Garden of Evening Mists, which was shortlisted for the Man Booker prize and is about memory and forgetting.

Pope book race: Publishers are already cashing in on this week's news of the new Pope. Two books about Pope Francis has been set for an April 30 release: Pray for Me: The Life and Spiritual Vision of Pope Francis, First Pope From the Americas by Robert Moynihan which was announced yesterday, and Francis, Pope of a New World by Andrea Tornielli, announced today.

Long-lost Stevenson essay:The Strand Magazine has published a long-lost essay from Robert Louis Stevenson, author of Treasure Island and Dr. Jeckyll and Mr. Hyde, in which he says he was often bored by the fiction written in his life.

Katy Perry book: Could the pop star be writing a memoir? British tabloids have reported that Perry signed a book deal for $3 million, but her rep has denied the news. Last month, ex-husband Russell Brand said that he was writing a second memoir that would touch on his 14-month marriage to the singer.

NYC Teen Author Festival: Six venues in New York City will host the fifth annual NYC Teen Author Festival next week, in which more than 90 authors have signed on to participate. The celebration includes a one-day event called the NYC Big Read.

'Devil Wears Prada' sequel: Check out the book cover for Revenge Wears Prada, the sequel to Lauren Weisberger's 2003 best seller that inspired the 2006 movie starring Meryl Streep and Anne Hathaway.

Want more Book Buzz? Follow @USATODAYBooks and @lindsdee on Twitter.


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Wednesday, June 27, 2012

THE LITTLE RED GUARD: A Family Memoir

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Sunday, May 6, 2012

THE PATAGONIAN HARE: A Memoir

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Thursday, March 8, 2012

Anthony Shadid dies, memoir published Feb. 28

By Bob Minzesheimer, USA TODAY

A family memoir by Anthony Shadid, who died Thursday at 43, while reporting on the civil war in Syria, will be published Feb. 28, instead of March 27, as originally scheduled.

Shadid's publisher, Houghton Mifflin Harcourt, also says it will recruit the author's friends and colleagues to take his place speaking on behalf of his book, House of Stone: A Memoir of Home, Family and a Lost Middle East, which was inspired by a 2006 visit to his grandmother's former home in Lebanon.

Shadid, an native of Oklahoma City who won two Pulitzer Prizes for his reporting in Iraq for The Washington Post, died of an apparent asthma attack while on assignment in Syria for The New York Times.

He had been scheduled to return to the USA next month for a 20-city book tour for House of Stone, which has received advance praise.

Author Dave Eggers (What Is the What) called the book an "undeniable and instant classic," and wrote, "I have no idea how Shadid pulled all this off while talking about the history of modern Lebanon, how he balanced ribald humor and great warmth with the sorrow woven into a story like this, but anyway, we should all be grateful that he did."

In an e-mail to the staff of The Times, executive editor Jill Abramson wrote that "Anthony died as he lived -- determined to bear witness to the transformation sweeping the Middle East and to testify to the suffering of people caught between government oppression and opposition forces."

Read the New York Times full obituary.


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Wednesday, January 25, 2012

Review-a-Day for Wed, Sep 21: Life Itself: A Memoir

by Roger Ebert A review by Gerald Bartell

In the 1950s, long before he won a Pulitzer Prize for his film criticism, Roger Ebert spent many a Saturday afternoon sipping root beer and munching jawbreakers, Necco Wafers and licorice at the Princess Theater in his home town of Urbana, Ill. Five cartoons, a newsreel, a Batman, Superman or Rocketman serial and then a double bill -- a Lash LaRue western followed by a Bowery Boys or Abbott and Costello comedy -- flashed before him.

Ebert's memoir, Life Itself, resembles one of those movie marathons. Tales from childhood, interviews with film stars and directors, funny and touching stories about colleagues, and evocative essays about trips unspool before the reader in a series of loosely organized, often beautifully written essays crafted by a witty, clear-eyed yet romantic raconteur.

Ebert begins with his childhood, a time when he did not, as one might think, escape an unhappy home at the movies. His parents sometimes quarreled over money, but mostly Roger's account of the family's life in Urbana suggests the Midwestern comfort of a Booth Tarkington short story.

On summer nights, the Eberts sipped homemade lemonade on the front porch of a two-bedroom white stucco house with green awnings. They talked to neighbors and watched for fireflies as "the sounds of radios, voices, distant laughter would float on the air." Young Roger founded the Roger Ebert Stamp Company, published a neighborhood newspaper and read voraciously, developing a passion for the novels of Thomas Wolfe.

Also emerging was a passion for journalism. At 16, Ebert covered high school sports for the Urbana News-Gazette, and then, as a student at the University of Illinois, became the decidedly liberal editor of the Daily Illini. After graduation he landed a job at the Chicago Sun-Times, where, in 1967, the features editor named Ebert the paper's film critic.

With no formal film education, Ebert headed to the movies, heeding Pauline Kael's approach to film: "I go into the movie, I watch it, and I ask myself what happened to me."

Over time, Ebert developed guidelines for his work. He likes movies about "Good People," an elastic definition that includes Hannibal Lecter ("the victim of his unspeakable depravities...he tries to do the right thing.") And Ebert hesitates to hurt people: "I feel repugnance for the critic John Simon, who made it a specialty to attack the way actors look. They can't help how they look any more than John Simon can help looking like a rat."

Ebert's take on film critic Gene Siskel, his co-host for the TV series "At the Movies," should quell persistent rumors that the men disliked each other. Yes, they feuded over films so intensely that the studio where they taped often had to be cleared. But underneath the tensions, Ebert says, he cared for Siskel like a brother. Of Disney and CBS execs who dropped plans for a sitcom starring the men as rival critics, Ebert says, "Maybe the problem was that no one else could possibly understand how meaningless was the hate, how deep was the love."

Ebert's work as a film critic sent him traveling, and his wonderfully personal essays on places around the world where he seeks solitude are highlights of the book, rich in reflections, imagery and sensory detail. Travelers who return year after year to the same destination will savor Ebert's reflections on these rituals:

I have many places where I sit and think, 'I have been here before, I am here now, and I will be here again.' Sometimes, lost in reverie, I remember myself approaching across the same green, or down the same footpath.... These secret visits are a way for me to measure the wheel of the years and my passage through life. Sometimes on this voyage through life we need to sit on the deck and regard the waves.

In 2006 Ebert received a diagnosis of thyroid cancer. The surgeries that followed left him unable to eat, drink or speak and looking "like an exhibit in the Texas Chainsaw Museum." Is he unhappy? Not really, partly because he began pouring his "regrets, desires and memories" into a blog, which led to his doing this book. Because of the writing, Ebert says, he was lucky: "I wrote, therefore I lived."

Ebert's luck is also our luck. We can nibble Twizzlers, Twinkies and Milk Duds and enjoy Ebert's marathon of memories.

Bartell is an arts and travel writer based in Manhattan.

More Than Three Decades of Quality Writing and Criticism

The National Book Critics Circle, founded in 1974, honors outstanding writing and fosters a national conversation about reading, criticism, and literature. To learn about how to join, click here.

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Saturday, November 26, 2011

Actor James Garner pens a memoir

James Garner's memoir is as easygoing and plain-spoken as his acting persona. The Norman, Okla., native, now 83, obviously wouldn't have it any other way.

From Bret Maverick and Jim Rockford on TV — his two signature roles — to The Great Escape's Hendley The Scrounger and The Americanization of Emily's Charlie Madison, the hustler on the big screen, Garner has personified what he describes as "the reluctant hero." He's cool and calm on the outside, but deep down he's a good-hearted maverick. When pushed, he will shove back. He's particularly wary of bullies and bigots, and proudly recalls attending the March on Washington in the summer of 1963, and to this day remains "a bleeding-heart liberal."

Garner recounts growing up fast and hard in Norman during the Depression. In fact, "he was abused, lonely and deprived," as his wife, Lois, succinctly puts it. No wonder Garner (born Bumgarner) escaped to Hollywood after serving in Korea — but not to become an actor. He was just looking for decent, honest work. He fell into acting serendipitously when he ran into fellow Oklahoman Paul Gregory, a producer and agent, who signed him.

Garner had the good fortune to work with Henry Fonda on Broadway in The Caine Mutiny Court Martial (where, as a silent judge, he learned the craft of listening). Later, when actor/director Charles Laughton took over the production, he told Garner that he needed to overcome his fear of being bad. It was a revelation.

But stardom came to Garner on the small screen when he appeared in Maverick from 1957-60. The hit series turned the Western upside down with irreverence. Garner played the con artist with a sense of humor and a code of honor, and the image stuck.

He then honed his persona on the big screen in two World War II dramas: The Great Escape (1963) and The Americanization of Emily (1964). Although the popular Escape is best known for Steve McQueen's famous motorcycle jump, the dramatic highlight is the tenderness displayed between Garner and Donald Pleasence.

Meanwhile, Emily deservedly remains Garner's favorite film, about a coward who ironically becomes a hero. Co-starring Julie Andrews, who also reached new dramatic heights, the brilliant but unsuccessful anti-war drama was scripted by the great Paddy Chayefsky, who had a poetic flair for dialogue.

"Audiences have come around to it, and it's now a cult favorite and a minor classic," Garner says. "Unfortunately, it hasn't put war out of style."

And, unfortunately, Garner is a little too hard on himself about his best scene (a 12-page speech against sentimentalizing war).

However, The Rockford Files (1974-80) embodies everything that Garner represents. His iconoclastic and likable private eye survives every crisis thrown his way. But Garner's devotion to the successful Rockford was more than just an acting job: He also produced it with his own company. Fittingly, it's the highlight of this memoir as well as his career.

Bill Desowitz covers movies for indieWIRE and his blog, Immersed in Movies (www.billdesowitz.com), and is writing a book about the on-screen evolution of James Bond from Sean Connery to Daniel Craig.


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Wednesday, November 16, 2011

FIVE CHIEFS: A Supreme Court Memoir

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Saturday, October 15, 2011

Review-a-Day for Wed, Sep 21: Life Itself: A Memoir

by Roger Ebert A review by Gerald Bartell

In the 1950s, long before he won a Pulitzer Prize for his film criticism, Roger Ebert spent many a Saturday afternoon sipping root beer and munching jawbreakers, Necco Wafers and licorice at the Princess Theater in his home town of Urbana, Ill. Five cartoons, a newsreel, a Batman, Superman or Rocketman serial and then a double bill -- a Lash LaRue western followed by a Bowery Boys or Abbott and Costello comedy -- flashed before him.

Ebert's memoir, Life Itself, resembles one of those movie marathons. Tales from childhood, interviews with film stars and directors, funny and touching stories about colleagues, and evocative essays about trips unspool before the reader in a series of loosely organized, often beautifully written essays crafted by a witty, clear-eyed yet romantic raconteur.

Ebert begins with his childhood, a time when he did not, as one might think, escape an unhappy home at the movies. His parents sometimes quarreled over money, but mostly Roger's account of the family's life in Urbana suggests the Midwestern comfort of a Booth Tarkington short story.

On summer nights, the Eberts sipped homemade lemonade on the front porch of a two-bedroom white stucco house with green awnings. They talked to neighbors and watched for fireflies as "the sounds of radios, voices, distant laughter would float on the air." Young Roger founded the Roger Ebert Stamp Company, published a neighborhood newspaper and read voraciously, developing a passion for the novels of Thomas Wolfe.

Also emerging was a passion for journalism. At 16, Ebert covered high school sports for the Urbana News-Gazette, and then, as a student at the University of Illinois, became the decidedly liberal editor of the Daily Illini. After graduation he landed a job at the Chicago Sun-Times, where, in 1967, the features editor named Ebert the paper's film critic.

With no formal film education, Ebert headed to the movies, heeding Pauline Kael's approach to film: "I go into the movie, I watch it, and I ask myself what happened to me."

Over time, Ebert developed guidelines for his work. He likes movies about "Good People," an elastic definition that includes Hannibal Lecter ("the victim of his unspeakable depravities...he tries to do the right thing.") And Ebert hesitates to hurt people: "I feel repugnance for the critic John Simon, who made it a specialty to attack the way actors look. They can't help how they look any more than John Simon can help looking like a rat."

Ebert's take on film critic Gene Siskel, his co-host for the TV series "At the Movies," should quell persistent rumors that the men disliked each other. Yes, they feuded over films so intensely that the studio where they taped often had to be cleared. But underneath the tensions, Ebert says, he cared for Siskel like a brother. Of Disney and CBS execs who dropped plans for a sitcom starring the men as rival critics, Ebert says, "Maybe the problem was that no one else could possibly understand how meaningless was the hate, how deep was the love."

Ebert's work as a film critic sent him traveling, and his wonderfully personal essays on places around the world where he seeks solitude are highlights of the book, rich in reflections, imagery and sensory detail. Travelers who return year after year to the same destination will savor Ebert's reflections on these rituals:

I have many places where I sit and think, 'I have been here before, I am here now, and I will be here again.' Sometimes, lost in reverie, I remember myself approaching across the same green, or down the same footpath.... These secret visits are a way for me to measure the wheel of the years and my passage through life. Sometimes on this voyage through life we need to sit on the deck and regard the waves.

In 2006 Ebert received a diagnosis of thyroid cancer. The surgeries that followed left him unable to eat, drink or speak and looking "like an exhibit in the Texas Chainsaw Museum." Is he unhappy? Not really, partly because he began pouring his "regrets, desires and memories" into a blog, which led to his doing this book. Because of the writing, Ebert says, he was lucky: "I wrote, therefore I lived."

Ebert's luck is also our luck. We can nibble Twizzlers, Twinkies and Milk Duds and enjoy Ebert's marathon of memories.

Bartell is an arts and travel writer based in Manhattan.

More Than Three Decades of Quality Writing and Criticism

The National Book Critics Circle, founded in 1974, honors outstanding writing and fosters a national conversation about reading, criticism, and literature. To learn about how to join, click here.

spacer


View the original article here

Wednesday, September 28, 2011

Review-a-Day for Mon, Sep 5: Big Sex Little Death: A Memoir

by Susie Bright A review by Peter S. Scholtes

How many erotic minds did Susie Bright open? Her influence on the happiest cultural sea change of the past quarter-century -- the broadening American attitude toward sex, sexuality, and homosexuality -- was profound, if indirect. After editing the pioneering lesbian erotic magazine On Our Backs in the 1980s, she published a collection of carnal advice columns in 1990, Susie Sexpert's Lesbian Sex World (Cleis Press), which established her as an uncommon voice of reason on a subject -- sex -- that causes so many thoughtful people to lose their heads.

Bright rejected shame and timidity posing as egalitarian enlightenment. She wrote candidly about fisting, butch-femme role-playing, and kink. She said she aspired to be the Pauline Kael of porn, and you can hear in her writing some of that other Californian's provocative, hip-motherly tone. She became bohemia's great sex educator instead: radical and feminist in the tradition of Ellen Willis, defending dirty fantasy for its own sake, but in blunt, cheerful prose. Four more collections of essays followed in the '90s alone, joining two erotic anthology series she launched and edited. If her attitude is tough to distinguish now from the prevailing sensibility on campus, that's a measure of how much the margins define thought in America.

Not that Bright takes credit for any of that in Big Sex Little Death, her new memoir, which ends in the '90s with her moving to Santa Cruz (with her male partner and daughter) to teach a university course on pornography. The book is an intimate account of the history she helped make, but it's like an epic shot entirely in close-up, skimping on context, and without any pretension that her story matters to anyone but her. The mind changing she takes pride in is all individual, like her one-on-one interactions with customers walking into Good Vibrations, the San Francisco vibrator store where she worked in the '80s. "One little chat," she writes, "and they wouldn't think they needed to rely on someone else for their orgasm."

Bright had been a revolutionary before she was a sexual revolutionary. Leaving an abusive mother in Canada who once threatened her with murder-suicide ("I'm driving us into the river"), she moved to live with her father in Los Angeles in the early '70s and attended University High School, where she became a "score girl" for the swim team and joined the socialist newspaper The Red Tide. She started having sex with men and women -- one of each, together, her first time. Before a swim banquet at the Playboy club, she had never been on a date: "I just went to meetings and demos and ended up in bed with my friends."

In this radical milieu, where "everyone was down with women's liberation and nonmonogamy," Bright saw utopia. "No one would bother to be jealous. Who would have the time? Sex would be friendly and kind and fun. You'd get to see what everyone was like in bed."

Bright found kindness, at first, in the International Socialists, a small but national Trotskyist organization that emphasized forming industrial unions where there were none and reforming existing ones, such as the then-notorious Teamsters. Bright's labor organizing brought her to African American communities in Detroit and Louisville. But she doesn't shape her story enough to say exactly how she got "an FBI file three inches thick" there. Her most vivid descriptions are emotional. Expelled in the mid-'70s, along with half of the group's membership, she writes, "I was accused of joining or leading a cult of personality. Which one? I didn't know what my personality was anymore."

Easing other people's minds about sex became Bright's mission. She remembered a fellow student in one of her women's studies classes who raised her hand and confessed to "rape fantasies" only to be told by classmates that she'd been brainwashed by the patriarchy. Bright kept quiet about her own taboo daydreams, and her sense that the term her fellow students used was something of a misnomer by definition: "In fantasy, I got only as scared as I wanted to be. I was only as subservient or sadistic as I cared to conjure. It started and ended with my trigger finger. Contrary to my real life, fantasies were...mine."

Yet this battle with the literal-minded strain of anti-sexism took on the anguish of a sectarian split in feminism, particularly as On Our Backs -- its very title a tweak of the anti-porn women's publication off our backs -- forced the issue. Bright writes that some women's bookstores, such as A Room of One's Own in Madison, Wisconsin, "issued press releases in which they accused us of being virulent racists and anti-Semitists, of practicing female genocide, of endorsing white slavery, of being pimps masquerading as women." Death threats and protests came, eventually followed by curiosity over what all the fuss had been about.

In the end, as Bright writes, "Madison Avenue took the sizzle of the lesbian feminist sex wars and put it in their own steak. How do you get from Patti Smith to Girls Gone Wild?" (Short version: Nobody and the Internet won.)

Yet there was more in those dirty pictures. Bright writes that "male magazines' centerfolds of female models were about: Am I pretty? Am I darling?" By contrast, "the great relief of dyke porn was that all that went out the window. We had an objective on our minds; we didn't need to be reassured that we were 'hot.' We had a sexual story to tell. We asked each participant, 'What's yours?'"

Bright must sense that this epiphany is the heart of her story, the point of her musical, but she has so many other passions and loves to honor: her parents, who get many, many chapters before our main character enters the picture, plus numerous lovers, friends, and benefactors to whom she owes a debt of description. This cascade of personal history becomes sprawling -- there still seems to be something of the young Susie pleasing everyone here. But her story is far from over, and it's too good to pass up for being less than perfect.

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Thursday, September 15, 2011

IN MY TIME: A Personal and Political Memoir

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Sunday, June 12, 2011

MY LUCKY LIFE IN AND OUT OF SHOW BUSINESS: A Memoir

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