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Books : Fiction : Novelists
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Short and snappy as it is, Stephen King's On Writing really contains two books: a fondly sardonic autobiography and a tough-love lesson for aspiring novelists. The memoir is terrific stuff, a vivid description of how a writer grew out of a misbehaving kid. You are right there with the young author as he is tormented by poison ivy, gas-passing baby-sitters, uptight schoolmarms and a laundry job nastier than Jack London's. It's a ripping yarn that casts a sharp light on his fiction. This was a child who dug Yvette Vickers from Attack of the Giant Leeches, not Sandra Dee. "I wanted monsters that ate whole cities, radioactive corpses that came out of the ocean and ate surfers and girls in black bras who looked like trailer trash". But massive reading on all literary levels was a craving just as crucial, and soon King was the published author of "I Was a Teen-Age Graverobber". As a young adult raising a family in a trailer, King started a story inspired by his stint as a caretaker cleaning a high-school girls' locker room. He crumpled it up, but his writer wife retrieved it from the trash, and using her advice about the girl milieu and his own memories of two reviled teenage classmates who died young, he came up with Carrie. King gives us lots of revelations about his life and work. The kidnapper character in Misery, the mind-possessing monsters in The Tommyknockers, and the haunting of the blocked writer in The Shining symbolised his cocaine and booze addiction (overcome thanks to his wife's intervention, which he describes). "There's one novel, Cujo, that I barely remember writing".King also evokes his college days and his recovery from the van crash that nearly killed him, but the focus is always on what it all means to the craft. He gives you a whole writer's "tool kit": a reading list, writing assignments, a corrected story and nuts-and-bolts advice on dollars and cents, plot and character, the basic building block of the paragraph and literary models. He shows what you can learn from HP Lovecraft's arcane vocabulary, Hemingway's leanness, Grisham's authenticity, Richard Dooling's artful obscenity, Jonathan Kellerman's sentence fragments. He explains why Kellerman's Hart's War is a great story marred by a tin ear for dialogue, and how Elmore Leonard's Be Cool could be the antidote. King isn't just a writer, he's a true teacher. --Tim Appelo, Amazon.com
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Marjane Satrapi's Persepolis is an exemplary autobiographical graphic novel, in the tradition of Art Spiegelman's classic Maus. Set in Iran during the Islamic Revolution, it follows the young Satrapi, six-year-old daughter of two committed and well-to-do Marxists. As she grows up, she witnesses first-hand the effects that the revolution and the war with Iraq have on her home, family and school.Like Maus, the main strength of Persepolis is its ability to make the political personal. Told through the eyes of a child (as reflected in Satrapi's simplistic yet expressive black-and-white artwork), the story shows how young Marjane learns about her family history and how it is entwined with the history of Iran, and watches her liberal parents cope with a fundamentalist regime that gets increasingly rigid as it gains more power. Outspoken and intelligent, Marjane chafes at Iran's increasingly conservative interpretation of Islamic law, especially as she grows into a bright and independent teenager. Throughout, Marjane remains a hugely likeable young woman
Persepolis gives the reader a snapshot of daily life in a country struggling with an internal cultural revolution and a bloody war, but within an intensely personal context. It's a very human history, beautifully and sympathetically told. --Robert Burrow
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There is a passage early in Augusten Burroughs's harrowing and highly entertaining memoir Running with Scissors that speaks volumes about the author. While going to the garbage dump with his father, young Augusten spots a chipped glass-top coffee table that he longs to bring home. "I knew I could hide the chip by fanning a display of magazines on the surface, like in a doctor's office," he writes, "And it certainly wouldn't be dirty after I polished it with Windex for three hours."There were certainly numerous chips in the childhood Burroughs describes: an alcoholic father, an unstable mother who gives him up for adoption to her therapist and an adolescence spent as part of the therapist's eccentric extended family, gobbling prescription medicines and fooling around with both an old electroshock machine and a paedophile who lives in a shed out back. But just as he dreamed of doing with that old table, Burroughs employs a vigorous program of decoration and fervent polishing to a life that many would have simply thrown in a landfill. Despite her abandonment, he never gives up on his increasingly unbalanced mother. And rather than despair about his lot, he glamorises it: planning a "beauty empire" and performing an a cappella version of "You Light Up My Life" at a local mental ward.
Burroughs' perspective achieves a crucial balance for a memoir: emotional but not self-involved, observant but not clinical, funny but not deliberately comic. And it's ultimately a feel-good story: as he steers through a challenging childhood, there's always a sense that Burroughs' survivor mentality will guide him through and that the coffee table will be salvaged after all. --John Moe, Amazon.com
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