Revue de presse :
"Lucid, realistic, compassionate, and illuminating.... In its detail, depth, richness and sheer intelligence, Hurry Down Sunshine will be recognized as a classic of its kind." —Oliver Sacks, The New York Review of Books
“[Hurry Down Sunshine] is about tenacity and tenderness, feeling helpless but being present, about cracking up, then finding the wherewithal to glue the jagged pieces of your mind back together again. But mostly it's about love.” —Oprah Winfrey, in her letter to readers in O, The Oprah Magazine
“Triumphant. . . . Greenberg renders the details of his daughter's breakdown with lyrical precision.” —The Washington Post
“There is a dancing, dazzling siren seductress at the heart of this book and . . . [it is] madness itself. . . . The startling associative imagery that gives Greenberg's writing its power is like a domesticated version of the madness that nearly carried away his daughter's life.” —Time
“This memoir of a family crisis captures the grief that transformed their lives . . . readers come away with a sense of the intractable nature of psychosis and the courage it requires for patients like Sally, whose struggles continue, merely to live.” —People
“[Hurry Down Sunshine’s] fundamental strength arises from Greenberg’ s insistence on facing the demons that held his girl in their dark thrall. Sally’ s descent and tentative return form the map for this story; Greenberg’s courage lies in his willingness to follow her down that terrible path, no matter where it leads.” —Bookforum
“[A] remarkable account.” —The New York Times Book Review
“[A] finely observed memoir . . . written in delicately episodic style. Vivid.” —The Wall Street Journal
“Touching, warmly intimate, and unsparing. . . . Like the best fiction, this memoir has transcended the merely particular and eccentric to constitute a kind of hard-won art.” —Joyce Carol Oates, Times Literary Supplement (London)
“Beautifully written. . . . The literary precedents Greenberg turns to are Joyce and Robert Lowell. . . . There are echoes of Virginia Woolf, too. . . . Sally’s psychiatrist calls . . . the mind falling in love with its delusions . . . ‘the evil seduction’. But Greenberg can understand the impulse, and it’s this that gives Hurry Down Sunshine such power.” —The Guardian (London)
“A story of almost mythic power. . . . A compelling narrative about how one family coped with madness. . . . Tough and lyrical. . . . Greenberg brings a true writer’s sensibility to every line.”
—The Times (London)
“[A] moving, brutally self-examining and unsettling memoir.” —The Daily Mail (London)
“[Greenberg] writes beautifully. . . . [He is] gratefully and minutely observant. . . . His cast captivates.” —The Observer (London)
“The psychotic break of his fifteen-year-old daughter is the grit around which Michael Greenberg forms the pearl that is Hurry Down Sunshine. It is a brilliant, taut, entirely original study of a suffering child and a family and marriage under siege.” –Janet Malcolm, author of The Silent Woman: Sylvia Plath & Ted Hughes and The Journalist and the Murderer
“One of the most gripping and disturbingly honest books I have ever read. The courage Michael Greenberg shows in narrating the story of his adolescent daughter’s descent into psychosis is matched by his acute understanding of how alone each of us is, sane or manic, in our processing of reality and our attempts to get others to appreciate what seems important to us. This is a remarkable memoir.” —Phillip Lopate, author of Two Marriages and Waterfront: A Journey Around Manhattan
Extrait :
Sally emerges from her room in a thin hospital gown, snap buttons, no laces or ties. She suddenly looks ageless. The only other time I’ve seen her in a hospital was the night she was born. By that point in our marriage her mother and I were like two people drinking alone in a bar. Not hostile, just miles apart. Yet when Sally appeared, a huge optimism came over us, a physical optimism, primitive and momentarily blind. She was her own truth, complete to herself, so beautifully formed that the jaded maternity nurses marveled at what perfection had just slid into the world. Though she has never set foot in a psychiatric hospital, there is the tacit sense from Sally that she is understood here, she is where she belongs. She acts as if a great burden has been lifted from her. At the same time she is more elevated than ever: feral, glitter-eyed. In 1855 a friend of Robert Schumann observed him at the piano in an asylum near Bonn: “like a machine whose springs are broken, but which still tries to work, jerking convulsively.” Sally appears to be heading toward this maimed point of perpetual motion. Her sole concern is to get her pen back, which has been confiscated with most of her other belongings–belt, matches, shoelaces, keys, anything with glass, and her comb with half its teeth snapped off by her potent hair. She initiates an agitated negotiation with the nurses, which immediately threatens to boil over into a serious scene. The nurses confer like referees after a disputed call. Then they grant her a felt-tip marker and march her back to her room.
Les informations fournies dans la section « A propos du livre » peuvent faire référence à une autre édition de ce titre.