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Chapter One: My Grandmother's House
Some days I would be left at my grandmother's house. I never knew why. Usually, I could ask my father anything, but I couldn't ask him that, why I was being left at my grandmother's, because I knew it was a privilege to be in that house, and no one, even my father would understand my reluctance. It was only a partial reluctance anyway, and I believed then that I had no business communicating anything I only partially understood.
Entering the house, I was plunged into an atmosphere of bafflement. The words, the manners, all the things, were foreign to me. The foreignness almost seemed literal; often I didn't understand what the people in my grandmother's house were saying, and often what I said was not understood.
What do I mean by understand? There were names for things that I found unfamiliar: "commode" for toilet, "box" for the area of the floor where the dog was made to lie, "pantry" for a series of shelves on one of the kitchen walls. My mother used these words easily, but she didn't use them to describe anything in our house. Or our apartment, what my father and I called home but what was to her something else. Something serious and untemporary. Something that generated no names proper to itself. In her mother's house, my mother knew that everything had been named long ago, once and for all.
I had trouble placing my grandmother's house. I knew it had nothing to do with America. Or postwar life. And yet it stood at the center of the lives of all her children and her children's children. It expressed an era -- historical, perhaps, wholly imaginary, that we grandchildren only vaguely understood. We knew that it had ended long before we were born; it seemed to have touched upon our parents' early childhood, but we weren't sure. There were twenty-one grandchildren who visited my grandmother's house regularly. Of her nine children, only two had settled more than ten miles away from her. We all lived on Long Island, in towns that bordered Queens and took their identity more from "the city" than "the island." My grandmother had lived in the same house since 1920, when the area was farmland; she despised the people who had moved there from Brooklyn or the Bronx after the war. She condemned new houses and the objects in them.
Each object in her house belonged to the Old World. Nothing was easy; everything required maintenance of a complicated and specialized sort. Nothing was disposable, replaceable. There were no errors of taste because there were no imaginable other choices. I was not unhappy there; each object's rightness of placement made me feel honored to be among them. Yet I was always guilty among those things, as if they knew I preferred what was in my glamorous aunt's house. She lived in the next town from my grandmother's; her husband owned a liquor store and made more money than anyone we knew. My aunt and uncle bought things easily, unlike the rest of the family, and so the house was full of new or newish objects: the plastic holders for playing cards, like shells or fans, the nut dishes in the shape of peanuts, the corn dishes in the shape of ears of corn, the hair dryer like a rocket, the makeup mirror framed by lightbulbs, the bottles of nail polish, the ice bucket, the cocktail shaker, the deep freeze. And the house was stocked with pleasurable things to eat, drink, sit on, listen to, lean against, watch, sleep in, ride, or wear. I knew these pleasures to be inferior, but I sank into them each time, stealing their luxury and fearing for my soul, as I half feared for my aunt's which I couldn't imagine to be the same, interested as she was in having a good time.
My grandmother had no interest in having a good time -- that is, in doing anything that would result only in pleasure -- and her house proclaimed this, as it proclaimed everything about her. Her house was her body, and like her body, was honorable, daunting, reassuring, defended, castigating, harsh, embellished, dark. I can't imagine how she lived, that is to say how she didn't die of the endless labor her life entailed. Nine children. It's easy either to romanticize her or utterly to push her aside.
Although I wasn't happy there, I did, somehow, like her house. Her garden had old-fashioned flowers, bright colored, a little wild; marigold, cosmos, foxglove, phlox. Older varieties of roses, whose petals seemed thinner than those of more recent types, more susceptible, as my soft flesh was more susceptible than those of the adults around me, to insect bites that made it horrible to the eye. I liked her garden even better than my aunt's, where the greens were deeper than the greens of any leaves or grass I'd seen anywhere else. I linked dark greenness to prosperity, as if my uncle had invested in that greenness so that we would all be more secure. My grandmother's house had no connection to prosperity; it had righteousness instead.
There were three ways you could enter the house: through the front porch, the side porch, or the kitchen. The kitchen was the most common way. Tacked on, it hadn't originally been part of the house. It floated on nothing, it had no foundations, it was a ship that sailed on air. And yet it was a serious place. Difficult and steady work went on there; the kitchen was productive, rigorous. And yet so light! Its lightness was a particular pleasure in summer. The screen door opened with a leisurely, indulgent creak. It bent back on a steel hasp, and even a child could hook it open easily. All the things that kitchen contained: marjoram, nutmeg, green peppercorns, sage from the garden, mason jars of preserved fruit! Some hints of the Italian from my Italian grandfather: ricotta mixed with cinnamon and sugar, almond biscotti, fresh figs purple at the top, fading to a tender green. Irish soda bread my grandmother had learned to make as a girl at home. Inexplicably, hamantaschen -- a way of using up the jars and jars of preserved figs. She would save a little dough, a little bit of fig, for me to make my own. She'd put mine in the oven along with hers, but mine were much, much smaller and they always burned. Beside her rows of golden pastry hats were my two burnt offerings, charred and solid black. I would eat them anyway, pretending they were good. I felt I had to, out of loyalty. "Don't eat those things, eat one of my nice ones here," she'd always say, and, guiltily, I would.
What was this all about? She was an expert baker. Why didn't she put my pastries in first and take them out before she put hers in? Or put mine in later, so they'd be ready at the same time as hers? What was she trying to show me? That I could try and try but would never be as good as she? That I should not have trusted her? That I should always keep an eye out, because whatever I did in life would be my own affair? It never occurred to me that the situation could be any different. My grandmother's implacable posture made the idea of alternatives impossible. What was, was. Because it had to be.
That kitchen was a monument to her refusal to accept the modern world. The sink was deep and had two narrow spigots, made of brass, that let out only thin, slow streams of water, unlike the jubilant spurts from the stainless steel faucets of ordinary fifties sinks. The table was white deal, with a seam down the middle where it could be made to fold, but it was never folded. My grandmother would run a knife blade through that seam and the ones along the sides, to dislodge crumbs of dried food. This was the sort of thing she was doing when people perceived her as being still. The linoleum was dull gray with spattered dots of red, yellow, and black. Her dishes were white with gentle floral patterns, pink and blue. I don't know where they might have come from.
There were a lot of things around the house that, like those dishes, suggested a half-glimpsed gentility. If you went into the side porch, for example, which you rarely did, there were objects of mimed opulence: black jardinieres with Oriental scenes painted on them, holding palms or tall, full philodendrons. The side porch had been my grandfather's workroom; he'd been a jeweler. He died when I was one year old. The room was kept purposely useless, in memory of him. I often stayed there, lonely, feeling I'd stolen grace.
In my grandmother's house I was often alone, left to myself because my grandmother was always busy. Sometimes she'd include me in her tasks: I would hold open the trapdoor so she could carry the wash up from the basement. She'd ask me to hold the funnel steady so she could pour antifreeze into the car. Sometimes I'd help her find a thimble or a pin while she was sewing at her machine; her thick foot in its black, low-heeled oxford pushing her treadle. The words she spoke when at her sewing machine seemed ancient to me, and she was the only one I'd ever heard using them: "rickrack," "grosgrain," "dotted swiss." Nothing she sewed was for me, nothing was for anyone I knew. I never understood what happened to all that sewing; it disappeared magically like sewing for the dead, her black foot steady on the treadle like the hoof of fate.
She rarely talked. She lifted pots and tools and basketfuls of earth and bowls of vegetables. She tore meat off bones and carcasses and made it into soup; she beat eggs into silky custards. I believe she very much enjoyed her life. But she had no time to play with children. And so I wandered the dark house alone, from room to room, beginning with the dark porch, where my bachelor uncle, who still lived with her, slept, winter and summer. There was a piano on the porch, and bound music books nobody opened, full of songs no one I knew had ever sung. "Believe Me, If All Those Endearing Young Charms," "Columbia, the Gem of the Ocean," "High Above Cayuga's Waters," "Eli Yale!" And odd pieces of sheet music, "My Buddy," "I'll Take You Home Again, Kathleen."
Why did they make my uncle sleep there? It was cold in winter, hot in summer. He slept on a couch that was only the semblance of a bed, camouflaged each morning with a gray-and-red-spotted cover. There was almost no place for his things; I don't know where he put his clothes. But I have no understanding of how my uncle lived. I've never come across anybody like him, anyone who would even give me a clue to why he was the way he was. He conformed to no type.
He served the family, especially his mother, with the devotion of a pilgrim to a sacred shrine. He surprised them all by marrying at forty-three -- one of the happiest marriages I have known, but that was later. Throughout his twenties and thirties, the family thought of him as at their beck and call. He was a strong, handsome man, a champion athlete, head at one time of all the lifeguards on Jones Beach. Yet they expected him to do their bidding, to be at their service when they needed him. There were nine brothers and sisters; all but two of them had mates or children. Someone was always sick or weak or broke or down on his luck. They called and he arrived.
Just this year, seven years after his death at seventy-four, his wife told me that he had decided when he was fourteen that he would dedicate his life to making his mother's life easier. He made the decision when he saw her fixing the roof during a storm. She was six months pregnant, nailing down tarpaper while the wind blew and the rain fell in torrents. He told her to go inside, that he'd take care of everything. From that time on, for nearly thirty years, that was his job: taking care of everything. When he married, it was his only defiance of my grandmother. She fainted at the wedding, which wasn't a Mass: he was marrying a non-Catholic. He moved seven miles away. He moved his things off the porch, his few things with their male smells: Popular Mechanic magazines, turpentine, neat's-foot oil. Things I always stood far away from if I ever wandered onto his part of the porch, averting my eyes and fixing them on the garlands, green and pink, around the words of the sheet music on the piano -- "I'll Take You Home Again, Kathleen."
One of my mother's younger sisters, the only one who hadn't married, had taken over the upstairs of the house. The upstairs didn't seem quite connected to the rest, but, unlike the innocent detachment of the kitchen, this disconnection seemed sinister. There was an awkward step down after you reached the top of the staircase leading from the living room. After you stepped down, there were two rooms on the right side of the corridor; a full bathroom (the only one in the house) was on the left. In this bathroom, there was blue-black linoleum on the floor, an old bathtub with claw feet, a small sink, a white wooden bureau, a white wooden washstand, a basin and pitcher, from which protruded overripe philodendron. I had a vague but powerful distaste for what I imagined the water in the pitcher might be like: the slimy stems in the unclear yellow liquid. The old-fashionedness of the bathroom made me feel it wasn't quite hygienic, not like the sky blue tiles, the chrome fittings of my glamorous aunt's bathroom, or the light apple green of the bathroom in our apartment. Only my aunt who lived upstairs used the bathroom regularly; my grandmother used the "commode" in her bedroom downstairs. She emptied it sometime, no one knew when, in the upstairs toilet.
My aunt's bedroom was large, industrial, and cold. There was gray linoleum on the floor; her bed and dresser were gray deal. The walls and trim were painted the same shade of gray. Only a small flowered mat lay on the floor by her bed. Each footfall, even your own, sounded ominous in your ears.
My aunt kept some small boxes of jewelry on her oversize dresser. I remember one pin: a cluster of false-looking purple grapes. She had many more dresses in her closet than my mother, but none of them had the cool freshness of my mother's summer cottons or the urbane, theatrical fragrance of her winter suits. My aunt didn't keep a bottle of perfume on her dresser like that vessel of transparent amber I so loved to approach among my mother's things.
All these lacks on my aunt's part made me pity her. I felt she'd missed the point of it all: adulthood, womanhood. She'd thrown away her chance, and that seemed connected to her childlessness, her cruelty, her bitter tongue, the dark circles below her eyes, the deep imprint of her vaccination scar, her miserliness, her law-abidingness, the way she would dream aloud about the new appliances and modern furniture she'd seen on TV. I pitied her and yet I feared her; no one else could make me feel so bad. My wrongs were so abundant: talking too much, not being quick enough to help clear the table, reading too much, dreaming, dreaming. Her hair was thick and black; her eyes light brown and surveillant. She was thought a beauty; I could not understand why.
The room next to my aunt's was another place in the house, like the front porch, that I couldn't comprehend. It had four iron cots and a gray iron bunk bed. It was nearly always empty. When I asked why my uncle couldn't use that room instead of sleeping on the porch, or half the porch, my mother said, "It has to be like that. In case people need to stay over." But who needed to stay over? Everyone in the family had less than half an hour's drive to get to my grandmother's house. Twice a year, perhaps, the two families who lived far away -- in Baltimore, in Philadelphia -- might or might not arrive. Meanwhile, my uncle slept outside.
I'd walk around this empty room, set up like a dormitory, remembering that this was where my mother had slept as a child. The oldest, she always had to share a bed with the next youngest baby. I heard all this, but I didn't believe any of it. The child who was my mother, who lived not with me but in this house, was...
Revue de presse :
Some days I would be left at my grandmother's house. I never knew why. Usually, I could ask my father anything, but I couldn't ask him that, why I was being left at my grandmother's, because I knew it was a privilege to be in that house, and no one, even my father would understand my reluctance. It was only a partial reluctance anyway, and I believed then that I had no business communicating anything I only partially understood.
Entering the house, I was plunged into an atmosphere of bafflement. The words, the manners, all the things, were foreign to me. The foreignness almost seemed literal; often I didn't understand what the people in my grandmother's house were saying, and often what I said was not understood.
What do I mean by understand? There were names for things that I found unfamiliar: "commode" for toilet, "box" for the area of the floor where the dog was made to lie, "pantry" for a series of shelves on one of the kitchen walls. My mother used these words easily, but she didn't use them to describe anything in our house. Or our apartment, what my father and I called home but what was to her something else. Something serious and untemporary. Something that generated no names proper to itself. In her mother's house, my mother knew that everything had been named long ago, once and for all.
I had trouble placing my grandmother's house. I knew it had nothing to do with America. Or postwar life. And yet it stood at the center of the lives of all her children and her children's children. It expressed an era -- historical, perhaps, wholly imaginary, that we grandchildren only vaguely understood. We knew that it had ended long before we were born; it seemed to have touched upon our parents' early childhood, but we weren't sure. There were twenty-one grandchildren who visited my grandmother's house regularly. Of her nine children, only two had settled more than ten miles away from her. We all lived on Long Island, in towns that bordered Queens and took their identity more from "the city" than "the island." My grandmother had lived in the same house since 1920, when the area was farmland; she despised the people who had moved there from Brooklyn or the Bronx after the war. She condemned new houses and the objects in them.
Each object in her house belonged to the Old World. Nothing was easy; everything required maintenance of a complicated and specialized sort. Nothing was disposable, replaceable. There were no errors of taste because there were no imaginable other choices. I was not unhappy there; each object's rightness of placement made me feel honored to be among them. Yet I was always guilty among those things, as if they knew I preferred what was in my glamorous aunt's house. She lived in the next town from my grandmother's; her husband owned a liquor store and made more money than anyone we knew. My aunt and uncle bought things easily, unlike the rest of the family, and so the house was full of new or newish objects: the plastic holders for playing cards, like shells or fans, the nut dishes in the shape of peanuts, the corn dishes in the shape of ears of corn, the hair dryer like a rocket, the makeup mirror framed by lightbulbs, the bottles of nail polish, the ice bucket, the cocktail shaker, the deep freeze. And the house was stocked with pleasurable things to eat, drink, sit on, listen to, lean against, watch, sleep in, ride, or wear. I knew these pleasures to be inferior, but I sank into them each time, stealing their luxury and fearing for my soul, as I half feared for my aunt's which I couldn't imagine to be the same, interested as she was in having a good time.
My grandmother had no interest in having a good time -- that is, in doing anything that would result only in pleasure -- and her house proclaimed this, as it proclaimed everything about her. Her house was her body, and like her body, was honorable, daunting, reassuring, defended, castigating, harsh, embellished, dark. I can't imagine how she lived, that is to say how she didn't die of the endless labor her life entailed. Nine children. It's easy either to romanticize her or utterly to push her aside.
Although I wasn't happy there, I did, somehow, like her house. Her garden had old-fashioned flowers, bright colored, a little wild; marigold, cosmos, foxglove, phlox. Older varieties of roses, whose petals seemed thinner than those of more recent types, more susceptible, as my soft flesh was more susceptible than those of the adults around me, to insect bites that made it horrible to the eye. I liked her garden even better than my aunt's, where the greens were deeper than the greens of any leaves or grass I'd seen anywhere else. I linked dark greenness to prosperity, as if my uncle had invested in that greenness so that we would all be more secure. My grandmother's house had no connection to prosperity; it had righteousness instead.
There were three ways you could enter the house: through the front porch, the side porch, or the kitchen. The kitchen was the most common way. Tacked on, it hadn't originally been part of the house. It floated on nothing, it had no foundations, it was a ship that sailed on air. And yet it was a serious place. Difficult and steady work went on there; the kitchen was productive, rigorous. And yet so light! Its lightness was a particular pleasure in summer. The screen door opened with a leisurely, indulgent creak. It bent back on a steel hasp, and even a child could hook it open easily. All the things that kitchen contained: marjoram, nutmeg, green peppercorns, sage from the garden, mason jars of preserved fruit! Some hints of the Italian from my Italian grandfather: ricotta mixed with cinnamon and sugar, almond biscotti, fresh figs purple at the top, fading to a tender green. Irish soda bread my grandmother had learned to make as a girl at home. Inexplicably, hamantaschen -- a way of using up the jars and jars of preserved figs. She would save a little dough, a little bit of fig, for me to make my own. She'd put mine in the oven along with hers, but mine were much, much smaller and they always burned. Beside her rows of golden pastry hats were my two burnt offerings, charred and solid black. I would eat them anyway, pretending they were good. I felt I had to, out of loyalty. "Don't eat those things, eat one of my nice ones here," she'd always say, and, guiltily, I would.
What was this all about? She was an expert baker. Why didn't she put my pastries in first and take them out before she put hers in? Or put mine in later, so they'd be ready at the same time as hers? What was she trying to show me? That I could try and try but would never be as good as she? That I should not have trusted her? That I should always keep an eye out, because whatever I did in life would be my own affair? It never occurred to me that the situation could be any different. My grandmother's implacable posture made the idea of alternatives impossible. What was, was. Because it had to be.
That kitchen was a monument to her refusal to accept the modern world. The sink was deep and had two narrow spigots, made of brass, that let out only thin, slow streams of water, unlike the jubilant spurts from the stainless steel faucets of ordinary fifties sinks. The table was white deal, with a seam down the middle where it could be made to fold, but it was never folded. My grandmother would run a knife blade through that seam and the ones along the sides, to dislodge crumbs of dried food. This was the sort of thing she was doing when people perceived her as being still. The linoleum was dull gray with spattered dots of red, yellow, and black. Her dishes were white with gentle floral patterns, pink and blue. I don't know where they might have come from.
There were a lot of things around the house that, like those dishes, suggested a half-glimpsed gentility. If you went into the side porch, for example, which you rarely did, there were objects of mimed opulence: black jardinieres with Oriental scenes painted on them, holding palms or tall, full philodendrons. The side porch had been my grandfather's workroom; he'd been a jeweler. He died when I was one year old. The room was kept purposely useless, in memory of him. I often stayed there, lonely, feeling I'd stolen grace.
In my grandmother's house I was often alone, left to myself because my grandmother was always busy. Sometimes she'd include me in her tasks: I would hold open the trapdoor so she could carry the wash up from the basement. She'd ask me to hold the funnel steady so she could pour antifreeze into the car. Sometimes I'd help her find a thimble or a pin while she was sewing at her machine; her thick foot in its black, low-heeled oxford pushing her treadle. The words she spoke when at her sewing machine seemed ancient to me, and she was the only one I'd ever heard using them: "rickrack," "grosgrain," "dotted swiss." Nothing she sewed was for me, nothing was for anyone I knew. I never understood what happened to all that sewing; it disappeared magically like sewing for the dead, her black foot steady on the treadle like the hoof of fate.
She rarely talked. She lifted pots and tools and basketfuls of earth and bowls of vegetables. She tore meat off bones and carcasses and made it into soup; she beat eggs into silky custards. I believe she very much enjoyed her life. But she had no time to play with children. And so I wandered the dark house alone, from room to room, beginning with the dark porch, where my bachelor uncle, who still lived with her, slept, winter and summer. There was a piano on the porch, and bound music books nobody opened, full of songs no one I knew had ever sung. "Believe Me, If All Those Endearing Young Charms," "Columbia, the Gem of the Ocean," "High Above Cayuga's Waters," "Eli Yale!" And odd pieces of sheet music, "My Buddy," "I'll Take You Home Again, Kathleen."
Why did they make my uncle sleep there? It was cold in winter, hot in summer. He slept on a couch that was only the semblance of a bed, camouflaged each morning with a gray-and-red-spotted cover. There was almost no place for his things; I don't know where he put his clothes. But I have no understanding of how my uncle lived. I've never come across anybody like him, anyone who would even give me a clue to why he was the way he was. He conformed to no type.
He served the family, especially his mother, with the devotion of a pilgrim to a sacred shrine. He surprised them all by marrying at forty-three -- one of the happiest marriages I have known, but that was later. Throughout his twenties and thirties, the family thought of him as at their beck and call. He was a strong, handsome man, a champion athlete, head at one time of all the lifeguards on Jones Beach. Yet they expected him to do their bidding, to be at their service when they needed him. There were nine brothers and sisters; all but two of them had mates or children. Someone was always sick or weak or broke or down on his luck. They called and he arrived.
Just this year, seven years after his death at seventy-four, his wife told me that he had decided when he was fourteen that he would dedicate his life to making his mother's life easier. He made the decision when he saw her fixing the roof during a storm. She was six months pregnant, nailing down tarpaper while the wind blew and the rain fell in torrents. He told her to go inside, that he'd take care of everything. From that time on, for nearly thirty years, that was his job: taking care of everything. When he married, it was his only defiance of my grandmother. She fainted at the wedding, which wasn't a Mass: he was marrying a non-Catholic. He moved seven miles away. He moved his things off the porch, his few things with their male smells: Popular Mechanic magazines, turpentine, neat's-foot oil. Things I always stood far away from if I ever wandered onto his part of the porch, averting my eyes and fixing them on the garlands, green and pink, around the words of the sheet music on the piano -- "I'll Take You Home Again, Kathleen."
One of my mother's younger sisters, the only one who hadn't married, had taken over the upstairs of the house. The upstairs didn't seem quite connected to the rest, but, unlike the innocent detachment of the kitchen, this disconnection seemed sinister. There was an awkward step down after you reached the top of the staircase leading from the living room. After you stepped down, there were two rooms on the right side of the corridor; a full bathroom (the only one in the house) was on the left. In this bathroom, there was blue-black linoleum on the floor, an old bathtub with claw feet, a small sink, a white wooden bureau, a white wooden washstand, a basin and pitcher, from which protruded overripe philodendron. I had a vague but powerful distaste for what I imagined the water in the pitcher might be like: the slimy stems in the unclear yellow liquid. The old-fashionedness of the bathroom made me feel it wasn't quite hygienic, not like the sky blue tiles, the chrome fittings of my glamorous aunt's bathroom, or the light apple green of the bathroom in our apartment. Only my aunt who lived upstairs used the bathroom regularly; my grandmother used the "commode" in her bedroom downstairs. She emptied it sometime, no one knew when, in the upstairs toilet.
My aunt's bedroom was large, industrial, and cold. There was gray linoleum on the floor; her bed and dresser were gray deal. The walls and trim were painted the same shade of gray. Only a small flowered mat lay on the floor by her bed. Each footfall, even your own, sounded ominous in your ears.
My aunt kept some small boxes of jewelry on her oversize dresser. I remember one pin: a cluster of false-looking purple grapes. She had many more dresses in her closet than my mother, but none of them had the cool freshness of my mother's summer cottons or the urbane, theatrical fragrance of her winter suits. My aunt didn't keep a bottle of perfume on her dresser like that vessel of transparent amber I so loved to approach among my mother's things.
All these lacks on my aunt's part made me pity her. I felt she'd missed the point of it all: adulthood, womanhood. She'd thrown away her chance, and that seemed connected to her childlessness, her cruelty, her bitter tongue, the dark circles below her eyes, the deep imprint of her vaccination scar, her miserliness, her law-abidingness, the way she would dream aloud about the new appliances and modern furniture she'd seen on TV. I pitied her and yet I feared her; no one else could make me feel so bad. My wrongs were so abundant: talking too much, not being quick enough to help clear the table, reading too much, dreaming, dreaming. Her hair was thick and black; her eyes light brown and surveillant. She was thought a beauty; I could not understand why.
The room next to my aunt's was another place in the house, like the front porch, that I couldn't comprehend. It had four iron cots and a gray iron bunk bed. It was nearly always empty. When I asked why my uncle couldn't use that room instead of sleeping on the porch, or half the porch, my mother said, "It has to be like that. In case people need to stay over." But who needed to stay over? Everyone in the family had less than half an hour's drive to get to my grandmother's house. Twice a year, perhaps, the two families who lived far away -- in Baltimore, in Philadelphia -- might or might not arrive. Meanwhile, my uncle slept outside.
I'd walk around this empty room, set up like a dormitory, remembering that this was where my mother had slept as a child. The oldest, she always had to share a bed with the next youngest baby. I heard all this, but I didn't believe any of it. The child who was my mother, who lived not with me but in this house, was...
Sheila Kohler San Francisco Chronicle Gordon evokes the lost objects of all our childhoods...[She] is capable of describing the complexity of the human heart with eloquence and intelligence.
Judith Thurman Mary Gordon takes risks, personal and literary, that are necessary if one's work is to flourish, deepen, and become masterful, as hers has. Seeing Through Places is a marvelously suggestive, accurate, and moving mirror of a time, an ethos, and a landscape.
Susan Salter Reynolds Los Angeles Times Book Review When a memoir is well told, rich with detail, as this one is, the things and people in it remain truly unique in the writer's memory; neater explanations would be fiction.
Rosemary Dinnage The New York Times Book Review Re-evoking the places and objects that were once so much darker and more fearful is a fine work of restoration. Gordon remembers objects as meticulously as a still-life painter....[She] knits them all together in a satisfying pattern.
Colleen Kelly Warren St. Louis Post-Dispatch Gordon writes with soul-searching honesty of the circumlocutional route she has traveled to get home.
Judith Thurman Mary Gordon takes risks, personal and literary, that are necessary if one's work is to flourish, deepen, and become masterful, as hers has. Seeing Through Places is a marvelously suggestive, accurate, and moving mirror of a time, an ethos, and a landscape.
Susan Salter Reynolds Los Angeles Times Book Review When a memoir is well told, rich with detail, as this one is, the things and people in it remain truly unique in the writer's memory; neater explanations would be fiction.
Rosemary Dinnage The New York Times Book Review Re-evoking the places and objects that were once so much darker and more fearful is a fine work of restoration. Gordon remembers objects as meticulously as a still-life painter....[She] knits them all together in a satisfying pattern.
Colleen Kelly Warren St. Louis Post-Dispatch Gordon writes with soul-searching honesty of the circumlocutional route she has traveled to get home.
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- ÉditeurThorndike Pr
- Date d'édition2000
- ISBN 10 0786225769
- ISBN 13 9780786225767
- ReliureRelié
- Nombre de pages319
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Seeing Through Places : Reflections on Geography and Identity
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Thorndike Press, Waterville, ME, U.S.A.
(2000)
ISBN 10 : 0786225769
ISBN 13 : 9780786225767
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Description du livre Library Binding. Etat : New. Large Print/Large Type. Careful packing, quick posting, delivery confirmation. Other Large Print titles in stock too. N° de réf. du vendeur 016575
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