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Category Archive for 'Autobiography/Memoir'

The speaker of this work of “fiction,” who appears in every way to be the author himself, insists that this book is, in fact, a report – “pages intended only for my files.” Despite this assertion, the resulting work is so introspective and so intimate, and the many known “facts” of the author’s own life are so clearly identical to events of the speaker’s life that the very borders between fact and fiction, reality and imagination, and observation and interpretation are blurred. The book feels like an internal monologue by a talented writer exploring the very nature of his own being, Its Australian author, Gerald Murnane, often suggested as a candidate for the Nobel Prize, appears to be so invested in the nature of thought and its creative manifestation through writing that he is willing to sacrifice what many of us would regard as everything physical that has had meaning for him in the past to find answers to his inner questions. The book which has resulted is unlike anything else I have ever read – a book without a plot, without a real conflict, and without a clear sense of direction – yet I found it hypnotizing.

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“Over the past few decades, Emily Carr’s reputation has soared so high that it now can be argued she is Canada’s best-known artist, historic or contemporary. Her impassioned paintings of the West Coast of Canada – her depiction of the monumental sculpture of British Columbia’s indigenous peoples and of the towering trees and dense undergrowth of the region’s rain forests, executed during the early decades of the twentieth century – have superseded [every other] claim to Canadian wilderness. And to national identity.” – Robin Laurence, “The Making of an Artist,” Introduction, 2005. In this autobiography, Carr shows her superb talent as a writer and observer, concentrating on her feelings and her intense responses to life’s challenges over the seventy-four years she has lived – including her struggles to acquire the skills she needed as a painter on an island where there were few others, her trips to aboriginal villages and her desire to preserve their unique qualities, and her friendships with the Group of Seven which gave her new impetus to continue with her landscape paintings. Lawren Harris, in particular, became a mentor. Fascinating and enlightening story by a woman whose success almost did not happen.

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Sleep of Memory, Modiano’s first published work since he won the Nobel Prize for Literature in 2014, draws together many of his never-revealed, often frightening,memories of his late teens and early twenties, some of them in fragments, which have haunted him from the mid-1960s. It is by far the most intimate picture he has ever given of his life, which feels so real here that it is hard to imagine that is “fictionalized.” He recalls these years as “a time of encounters, in a long-distant past,” admitting that he “was prone back then to a fear of emptiness, like a kind of vertigo.” Mysteries surround his characters, their lives, and their motives, and the sudden disappearance of a young woman is a warning sign that things may not be as they appear. Another woman involves him in a terrifying event for which the terms “amnesty,” “witnesses,” and “statute of limitations” creep into the narrative. People enter, then leave Modiano’s life, and years later, he seeks out some of these people and places still looking for resolution for some of the issues he has faced. Newcomers to Modiano will probably want to start with SUSPENDED SENTENCES, about his childhood, to start familiarizing themselves with Modiano’s work. Those who are already fans will want to start on this one without delay!

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In this memoir, Hisham wastes no time, going straight to the heart of his life and telling the whole story, showing clearly the effects of the very real traumas which he has never fully explored, and the fears and insecurities which have dominated his life as a result. As the memoir opens in March, 2012, forty-one-year-old Matar, and Diana, a photographer, who have been living in New York, are at the airport in Cairo, waiting to take off for Benghazi. He is nervous because he and his family left Libya for exile in 1979, and he has never returned. His father, Jaballa Matar, worked for the Libyan government as first secretary to the Libyan Mission to the United Nations in 1970, and Hisham was born that year in New York. After three years, he, his father, mother, and older brother Ziad, returned to Libya, as Qaddafi was coming to power. Jaballa Matar, who opposed many of Qaddafi’s policies in favor of the resistance in the late 1970s, fell victim to Qaddafi’s ambitions. With their lives endangered, the family escaped from Libya for Egypt in the late 1970s, and Hisham did much of his early schooling in Egypt. Then his father was kidnapped and sent to Abu-Salim Prison in Libya. Matar’s story is enhanced by constant flashbacks which broaden the scope and the cast of characters, making them come more fully alive. This powerful memoir treats the subjects of memory and loss, innocence and guilt, power and vulnerability, and ultimately love and hope, giving the reader new insights into how one man eventually manages to cope with his past, present, and future.

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Beginning this novel in 1937, Junichiro Tanizaki (1886 – 1965), one of Japan’s most accomplished novelists, takes a new direction in this novel, his last. Here he describes the lives and cultures of a succession of Japanese house maids in a financially successful household. The novel’s time frame, 1937 – 1962, is obviously a time in which Japan faced some of its most dramatic changes and these changes, as described by Tanizaki, were at least as dramatic sociologically as they were historically during this period. The class system was being dismantled, local languages and dialects were changing, movement from the countryside to the city and back was becoming relatively common, and a sense of independence among young women was emerging. Tanizaki saw it all, and while a previous novel, The Makioka Sisters, focused on those who lived comfortable lives, this novel focuses on those who helped make the lives of those people as comfortable as they were. These were the people who saw and dealt with the greatest changes – the maids who lived “below stairs,” as translator Michael P. Cronin describes them in his Afterword. In this novel, which was published in installments in a Japanese newspaper in 1962, his purpose seems to have been, instead, to seize the opportunity to talk to his readers about the changes to Japanese society that he has noted over the past twenty-five years. While this is often intriguing and even fascinating, new readers to Tanizaki will want to start with one of the other Tanizaki novels previously reviewed on this site.

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