How did Meryl Streep become the only actor to receive a record-setting 17 Academy Award nominations? Michael Schulman’s latest biography, Her Again: Becoming Meryl Streep, answers this question. Using interviews and diaries from those close to her, he deftly chronicles Streep’s ascension to stardom, from childhood to her breakout role in the movie Kramer vs. Kramer.
Told in chronological order, Schulman begins with her idyllic childhood in the New Jersey suburb of Bernardsville. She spent her time taking singing lessons in New York City, hanging out with friends and acting in school plays. Schulman’s tale of how she became Homecoming Queen in 1966 is eye opening. Discovering her love for drama as an undergrad at Vassar, she went on to attend the prestigious Yale School of Drama. How she made this decision will make you laugh out loud. While at Yale, she sharpened her talent but, more importantly, made the connections which landed her in the heart of New York’s theater scene. One such connection was with the late actor John Cazale, most notably known for his role as Fredo in the Godfather movies. Schulman not only tells of their devoted relationship but also provides background on Cazale and the making of the film The Deer Hunter. His description of her after Cazale’s untimely death is truly heartbreaking. And, you will be mesmerized by her difficult working relationship with Dustin Hoffman on the film Kramer vs. Kramer.
Schulman’s compelling, detailed bio of Streep's early years, filled with backstories and humorous anecdotes, will give you a glimpse into her formative years. Not only will you learn about her relationships and personality, but also about the 1970’s entertainment industry. Fans of Streep as well as Arts and Entertainment enthusiasts will enjoy this revealing bio. Find out for yourself how Her Again proves without a doubt why Streep is a respected, award-winning actress.
When you think celebrity memoir, a series of letters dedicated to various men isn’t necessarily what comes to mind first. But Mary-Louise Parker’s Dear Mr. You is more than that. Using letter writing as a vehicle, Parker explores her relationships with the men she has met, may meet or never got a chance to meet, and by doing so revels in the way her relationships shape her life.
While her letters are candid, ranging from the erotic to the brutally honest, Parker doesn’t indulge in any kind of exposé or scandal; in fact she rarely names the addressees by their full names, so anyone looking for scandalous celebrity gossip may be a bit disappointed in that regard. Instead, what Parker creates is a poetic addition to the memoir genre. She tells her life story by reflecting on the lives and experiences of others, from the grandfather she never knew to a cab driver she would never meet again. While not all memories of the men who have come and gone from her life are pleasant, Parker embraces the good and the bad — the impersonal stranger, the demanding mentor, the intimate lover — and thanks each for the mark they have left on her life.
Lyrical and poignant, Dear Mr. You is many things in one slim volume. It’s a contemplation of the impact men have on their relationships, and a reminder that even trifling interactions between two people can leave a lasting impression. Ultimately, it is an epistolary reflection on how a life is shaped by people — living, dead or imagined. Reminiscent of Joan Didion’s works, Dear Mr. You is a celebration of a life through the lens of relationships from the trivial to the significant.
It is a truth in America today that a single woman in possession of good fortune (or little or no fortune) may not be in want of a husband. According to data taken in 2012 from the Pew Research Center, 17 percent of women aged 25 or older have never been married, and the age when women do get married rose from 20 in 1960 to 27 in 2012. Why are so many women waiting to get married, if they even marry at all? The rallying cry of many magazine articles and talk show hosts seems to be: “What’s wrong with these women?”
According to Rebecca Traister’s book All the Single Ladies: Unmarried Women and the Rise of an Independent Nation, absolutely nothing is wrong. Traister doesn’t condemn women for remaining single or for marrying; passing a value judgment on a woman’s life is not what this book is about. Instead, she objectively considers the reasons why women make the choices they do, and examines the societal implications of these choices.
Traister examines the way single women now — the never-want-to-be married, the divorced, the widowed and those considering marrying later — interact with the world around them within the context of the centuries that women were restricted to the roles of housewives and mothers to the exclusion of all else. She reviews the economic and social trends as they’ve rapidly changed over the past couple of decades, culminating in women today having more freedom to live their lives as they wish. According to Traister, the way women exercise these freedoms is changing America’s political, social and economic landscape in ways our social and political structures aren't currently prepared to support.
Traister balances the political and socio-economic discourse with her interviews with single women of different ages and backgrounds. These interviews provide real-life examples proving that broadly classifying the single woman experience into one category is an exercise in folly. Not all single women share the same experience — for instance, the experiences of a single white female, in the past and today, are very different from a single woman of color, and the interviews illuminate this in a very real way.
Traister writes with clarity and comprehension, which makes All the Single Ladies an accessible and thought-provoking read perfect for anyone — married or single — looking to better understand the shifting paradigms and needs of our society. Fans of the book may also wish to read Gail Collins’ When Everything Changed for another perspective on the role of women in America.
Ask anyone the question “What is your favorite book?” and you have the beginning of an interesting conversation. But twist that question just a bit, and you get a glimpse into that person’s psyche. Editor Bethanne Patrick does just that in the essay collection The Books That Changed My Life: Reflections by 100 Authors, Actors, Musicians and Other Remarkable People. She surveyed a broad range of interesting people, imploring them to share the titles that affected their existence in an important way.
From the poignant to the profound, these two to three page contemplations are fascinating; and just reading them makes you feel an immediate connection to that person. Singer-songwriter Roseanne Cash, daughter of Johnny, names Little House on the Prairie by Laura Ingalls Wilder as her life-changing book. Ma and Pa Ingalls demonstrated the day-to-day routines of a loving, dependable family, making Little House a comfortable reprieve for the modern-day Cash, raised in a spotlight of fame, instability and chaos.
R.L. Stine, known for the popular Goosebumps series of scary novels for kids, reminds us that the original Pinocchio by Carlo Collodi was the stuff of childhood nightmares and not the charming Disneyfied version. Many of the other essayists also chose a book from their childhood, including such classics as Grimm’s Fairy Tales (Margaret Atwood), The Little Prince (Jacob Hemphill) and The Lion, the Witch and the Wardrobe (Vu Tran).
Others name coming-of-age adult fiction they read as teens, from Gone with the Wind (Jodi Picoult), to The Bell Jar (Meg Wolitzer). Science fiction writer John Scalzi was a precocious reader who discovered The People’s Almanac when he was just 6. The book ignited his love for trivia and curating facts of all kinds, whether or not he understood them.
The Washington Post BookWorld editor Ron Charles’ choice, Straight Man by Richard Russo, was a literal life changer. Then a prep school English teacher, Charles picked up the novel from a table of newly published fiction at a local bookstore and decided to write a review, his first ever. He submitted it to The Christian Science Monitor, with more critiques to follow. He ultimately gave up teaching to become their full time reviewer, ultimately landing at The Washington Post. Charles says that newspaper readers “overwhelmingly prefer to read positive reviews...Of course, they want to know which books they should read instead of books they should not read — because they’re not going to read most books anyhow.” Consider this an overwhelmingly positive review of The Books That Changed My Life. What book changed yours?
David Kushner’s early childhood was near idyllic. Born in 1968 to observant Jewish parents with liberal ideals, Kushner and his two older brothers Jon and Andy had license to roam free in their Tampa suburb. Days were filled with bike rides, games and exploration of the natural world that surrounded both their home and school. But one October afternoon, Jon took a solo ride to the 7-Eleven to buy Snappy Gator Gum for David and himself. He never returned. Alligator Candy: A Memoir is the story of the tragedy that affected not only the Kushner family, but the entire community.
David, a contributing editor for Rolling Stone, a journalism professor at Princeton and an author of several nonfiction titles, tells this deeply personal story with candor and generosity. What does he remember about the last time he saw his brother alive, and can he trust that memory? Would Jon be alive today if almost-5-year-old David hadn’t asked for that gum? The rest of his life from that point forward, was marked by having a brother who had been abducted and murdered. Childhood was no longer safe; his bogeyman was real. Actually, he had two bogeymen — the men who had confessed to treating his brother in a way that was far worse than anything he’d heard from his old edition of Grimm’s Fairy Tales.
How does a family move on? Kushner credits his parents for allowing him and his older brother the freedom to move beyond the fear, to continue to have as normal a childhood as possible. He acknowledges his Jewish faith, but most importantly the community that came forward to support his family from the moment Jon went missing. As he got older, he knew his memories of his brother’s murder were incomplete, and much of what he thought he knew was based on a combination of overheard conversations, conjecture and rumors. And although he craved answers to what was a mystery to him, he didn’t want to subject his parents to painful recollections.
At 13, he went to the library to request microfilm of The Tampa Tribune from October 1973. What he read satisfied his need for more information, but also led to further questions. One fact remained: He was becoming a man, a bar mitzvah, while Jon would forever remain a boy. Kushner talks about other famous cases involving missing and brutalized children, explaining how laws have come into being as a result. An existing legal loophole allowed for a parole hearing for one of Jon’s killers, compelling David and Andy to testify. The thought of this man possibly getting out into the world was stupefying. The family found justice and some solace in knowing the mastermind of the crime had been executed under the death penalty.
Alligator Candy is a memoir that marks a lifetime of remembering, searching and gathering. The processing will always continue. Kushner's evocative prose took me back to my own early '70s childhood, with just the right period details and nostalgia. Despite its difficult topic, Alligator Candy is compulsively readable and highly recommended.
Memoirs are a popular form of bibliotherapy, not only for the authors who find therapy in sharing their thoughts and words, but also for the readers who are lucky enough to come across the right one at just the right time. This is the case for Reasons to Stay Alive, a kind of hybrid self-help/memoir by British novelist Matt Haig. Even if you’ve never experienced clinical depression, it’s certain that someone in your life is struggling with it right now.
Haig’s warm confessional tone and conversational prose makes this an easy book to pick up, despite its heavy subject matter. The author recalls a moment at age 24 when a thought led to a strange, tingling sensation in his head that was followed by an immediate, suffocating state of depression — anxiety and anguish so horrific that the only way he felt he could deal with it was to end his life. Haig lays out what it’s like to fight battle upon battle in your own mind, barely making it from one day to the next. He also shares the things that saved him, his own “reasons to stay alive,” which included his family and the dedicated girlfriend who eventually became his wife. Haig allows that while he has come a long way from this lowest point, he hasn’t completely gotten over depression, and never will. He shares his coping mechanisms, but is forthright in telling readers that depression is not the same for everyone, as minds are unique.
He informs readers that depression is one of the most deadly diseases on the planet, and that suicide accounts for over one in every hundred fatalities in the U.S. and the U.K. He speaks from personal experience when he says that, despite this statistic, “people still don’t think that depression really is that bad.” This accounts for various unhelpful directives he’s been given along the way, like “Chin up!” and “Mind over matter!”. These fall under a chapter entitled “Things people say to depressives that they don’t say in other life-threatening situations.”
Reasons to Stay Alive takes on its delicate subject matter with heart and humor, giving readers a sure-fire gambit for starting conversations about what it means to battle depression. Matt Haig’s honesty and candor are a welcome gift.
Film critic Owen Gleiberman, best known for his two-decade stint at Entertainment Weekly, reflects on his passion-turned-career in Movie Freak: My Life Watching Movies. His movie obsession began in the late 1960s when his parents loaded him and his younger siblings into the family Buick for a night at the drive-in outside of Ann Arbor, Michigan. The experience held a “disturbingly sinister excitement” for the young Gleiberman, who was just seven years-old. Did his father choose wholesome family viewing? Oh, no — these were movies HE wanted to see, with no regard for whether they were appropriate for his young children. Gleiberman recalls many adult-oriented drive-in movies he experienced as a third-grader, most notably Rosemary’s Baby and The Boston Strangler. Although they never discussed these films afterward, the experience made him feel closer to his distant parents.
By junior high he was addicted to monster movies, and then in high school he gravitated to scandalous films like Last Tango in Paris and A Clockwork Orange, which left a big impression. But the movie that shifted his entire worldview was John Waters’ Pink Flamingos, which he admits scared the “bejesus” out of him, and fulfilled his craziest drive-in dreams for the extreme.
His first forays into criticism came during college at The University of Michigan. He was obsessive in his film viewing, referring to it as “the religion that sustained me.” He muses that the true movie buff leads a solitary existence, even when they are with other people. Movies help you leave yourself behind, and the essential experience has almost nothing to do with the quality of what you’re seeing.
Readers who love pop culture will enjoy Movie Freak. Gleiberman has always been a critic who speaks his own mind, proud of the fact that he doesn’t go along with the crowd when it comes to his reviews. He isn’t swayed by the Hollywood machine — he calls it as he sees it, even when that leaves him as odd man out, as it did when he panned the Julia Roberts/Richard Gere romantic comedy Pretty Woman. He is proud of championing indie films like the documentary Crumb, and unapologetic in his general dislike of foreign films.
Digressions into his personal life could have been left out, but when Gleiberman sticks to the business of Hollywood and the changing face of film criticism in the time of relentless blogging and social media, Movie Freak shines.
In the small Kentucky town where the miner’s son grew up to be a miner and the bootlegger’s son grew up to be a bootlegger, no one was surprised when the writer’s son grew up to be a writer in Chris Offutt’s new memoir My Father, the Pornographer.
Imagine that your father dies and you, as the eldest son, are tasked with the responsibility of cleaning out his office. Now imagine discovering that your father, who passed himself off as a science fiction writer, also wrote hundreds of pornographic novels. After clearing out decades’ worth of garbage and searching the vents for hidden treasure that turns out to be nothing more than his father’s last practical joke, Offutt quickly realizes that his father’s writing career wasn’t merely supplemented by pornography — it was the bulk of it. In an attempt to understand his deceased father’s perverse obsessions, he packs and transports nearly two tons of his father’s work from his childhood home to his current residence in Mississippi.
But more than just a story of Andrew Offutt’s career as a pornographer, this is also the tale of Chris Offutt’s childhood and a meditation on his contentious relationship with his father. As Offutt acts as archeologist, reconstructing his father’s career and life, he realizes just how much they have in common. Offutt is struck by his father’s unique writing method: He kept a catalog of descriptions filed under various (frequently vulgar) categories and when writing a novel he plugged the passages in where needed. When the younger Offutt considered joining the military, he prepared for basic training by filling a notebook with amusing anecdotes pilfered from Reader’s Digest’s “Humor in Uniform,” divided into specific categories, that he could pass off as his own experiences in letters he wrote to his family back home. Although he himself is not a purveyor of pornography, Offutt is dismayed at the similarities he finds. He isn’t sure what he hopes to learn from immersing himself in his father’s “private and unfiltered fantasies,” but the deeper he digs, the harder it is to walk away.
For another memoir about the father/son relationship, check out Nick Flynn’s Another Bullshit Night in Suck City.
Paul Kalanithi’s When Breath Becomes Air is a publishing phenomenon. Released mid-January, it debuted at number one on The New York Times hardcover nonfiction bestseller list, where it remains. This poetic memoir of life and impending death has the feel of an important book, one that will be read and talked about for years to come. It shines a light on what it means to be human.
Kalanithi was about to complete his residency in neurosurgery at Stanford, when he began experiencing crippling back pain and weight loss. Initial X-rays looked fine, but the possibility of cancer was always in his mind. He chalked up his symptoms to long, grueling days in the operating room and his aging 36-year-old body. He admitted that while he was an authoritative surgeon, he was a meek patient.
Weeks later, when fierce chest pains began, he was forced to confront what he knew all along. A CT scan and subsequent tests revealed stage IV lung cancer. When Breath Becomes Air is a beautiful examination of a life cut short, a memoir rich in introspection and unsparing in emotion. When his health problems began, Kalanithi was under a tremendous amount of stress. The completion of his residency was all-consuming. His wife Lucy, an internist herself, had some doubts about their marriage and was planning some “alone time.” His diagnosis proved a game-changer.
Not only did his wife stay, but the couple decided to accelerate their plans to have a baby, continuing the circle of life. Kalanithi shared his most intimate hopes and fears with readers, as he witnessed his daughter’s birth from his own fragile, uncertain state of health.
He underwent various treatments, soldiering forward not knowing how much time he had remaining. He continued to work on the manuscript that became this book, all the while buoyed by faith and his large family. When he died in March 2015, Lucy completed the book, adding an epilogue of her own to fill in her husband’s last weeks. This section is both wrenching and cathartic for anyone who has sat with a loved one during their final hours. Kalanathi’s dying wish was to leave behind a legacy in print. A true polymath, Kalanithi held both a BA and MA in English literature; he was also a student of philosophy. All of this informs his writing. When Breath Becomes Air ensures he will live on, remembered not only for his story, but for his eloquent words.
Video gaming is one of the most rapidly growing and ever evolving hobbies of the 21st century. The gaming industry grosses more money each year than the movie and music industries combined. With figures like this, it’s no surprise that a gaming counterculture has arisen, eager to create and share games that shun traditional styles in favor of a more indie appeal. In The State of Play: Creators and Critics on Video Game Culture, notable game designers, players and critics sound off their opinions on the current trends and directions of both the AAA and indie game movements.
One of the topics most frequently discussed in The State of Play is the concept of player identity. Evan Narcisse’s “The Natural,” Hussein Ibrahim’s “What It Feels Like to Play the Bad Guy,” and Anita Sarkeesian and Katherine Cross’ “Your Humanity Is in Another Castle” all make great arguments for more diversity in every aspect of the characters players control and interact with.
Zoe Quinn, creator of the notable indie game Depression Quest, details her harrowing experiences developing, launching and living through her game and gives readers a glimpse into what it was like to come under fire during the infamous #Gamergate movement of late 2014. Merritt Kopas’ essay “Ludus Interruptus” makes a great argument for much more open-minded views of sexuality and acts of sex in Western gaming. Despite making massive strides in both technical and creative compositions in the past few years, video games have still remained very old-fashioned when it comes to sex and how it’s initiated, portrayed and perceived in media.
Readers who identify as gamers or are interested in the increasingly complex culture of video games should read The State of Play. Games are currently one of the most powerful creative mediums for expression, offering users the chance to become fully immersed in their experiences through interaction. The State of Play is a fantastic, unprecedented collection of reflective literature on different experiences from every angle. Every essay is spliced with Internet links and footnotes leading to resources for further exploration, and there is much to be learned.