I recently read probably one of the best books about a marriage that I think exists, and oddly enough, I'm not sure if most people focused on that when it originally came out.
The reason I have my doubts is because even though "Wife" is in the title, I think the majority of readers felt that the main thrust of the story was that it was a fictionalized account of the life of Laura Bush. And while I'm told it certainly mirrors much of the ex-First Lady's story, I couldn't help but think that this is not a book about politics, or power, or even an insider's female perspective of the former president.
No, to me, American Wife is about marriage: the ups and downs, the rewards and pitfalls, the struggles and triumphs. And, if I can say so from my vast experience from being married for so long (all of zero days, my friends), I feel like the book is an honest and accurate portrayal of how a typical marriage--no matter how atypical the circumstances it finds itself in--works.
And that's where Curtis Sittenfeld, the author, does such an outstanding job. Now, I had read her previous novel, Prep, and for the most part enjoyed it. I thought the writing was good, and the story interesting enough to keep me moving along. However, the protagonist of that story, Lee, is ultimately disappointing, as she succumbs to the pressures to fit into a world she doesn't belong to, without ever truly redeeming herself. Granted, I think that's the point: that a teenage girl who finds herself thrust into a much higher social strata will almost certainly try whatever she can to adapt, but I never sympathized with her.
With Alice Lindgren in American Wife, while we watch her make mistakes, ultimately I feel we can identify with her, or, at least, understand her decisions. Clearly she's too good for her husband, but we see, through her eyes, that there is something worth loving in him, and although at times he comes across as boorish or spoiled, he's not a monster. He's just a man with too much pressure on him from too many angles, and she's the one thing that seems to keep him grounded.
One thing I've asked my other friends who have read this book is, based on their own personal politics, had their opinions of George Bush changed at all. While most have said no (claiming there's just too much "history" to cast off their distaste for him based on a work of fiction), almost all of them have said that their opinion of Laura Bush has certainly changed--and for the better. While not exactly a Bush fan myself, I was perhaps a little disappointed that people didn't approach their feelings about Bush with him painted in this new light, but I can respect it. Still, I actually feel Sittenfeld did more to help Bush's legacy than any partisan biography could ever do.
And the reason for that is not so much because she's a vocal liberal who is penning an objective fiction, but because the novel holds the feeling of so much truth that it's hard to dismiss that maybe her characters are true depictions of the real-life people they represent.
No matter what, though, this is a phenomenal novel, a story that transcends the politics and history and instead thoroughly explores an intimate relationship in a way few books I've read have ever done. I highly recommend.
Showing posts with label Curtis Sittenfeld. Show all posts
Showing posts with label Curtis Sittenfeld. Show all posts
Friday, February 13, 2009
Wednesday, May 30, 2007
Holla Back, Young 'Un!
(I've updated this with a bunch of links about YA Literature below)
I apologize. I might, at some point, go back and add more hyper-links, but I figured I’d left my readers waiting so long . . .
Leave me with my illusions!
Young Adult literature is often seen as being exactly that: books for
teenagers -- and that's it.
However, a lot of great books get unread by people who would probably
enjoy and appreciate the writing, if they either A) knew about the
books, and/or B) weren't embarrassed to be reading "kiddie" books.
Think about Harry Potter for example. Here were books (I find it hard to think that anyone considers them strictly YA anymore) that a lot of adults dismissed as being childish. But as they grew in popularity (and, for some reason, infamy), parents started reading the books to see “what all the fuss was about.” Well, it turns out the fuss was about awesome books that were just as much mystery/thrillers as they were children’s fantasy. And as Harry grew, so did the books, so that they got to be as mature (and annoying) as a teenager can be. It’s one of the many reasons J.K. Rowling is a genius.
There are billions of reasons, though . . .
Luckily for you all, I have no compunctions going into the kids
sections of book stores (looking like the bearded pedophile I am) and
buying these books to bring you good tidings.
The book is Speak by Laurie Halse Anderson, and it's a pretty
accurate look at the social hierarchy of high school from the
viewpoint of a freshman girl (I'm assuming, although I’m pretty sure more than one of you out there can relate). What's so great about the story is that there is clearly something that the narrator isn't telling us about what happened the
summer before she enters high school, and her quirks (such as rarely,
if ever speaking – like the title, Dave!), are somehow a result of this event. The mystery isn't really too hard to solve (one of the slight draw backs of the YA
genre), but it still is a good story.
An interesting thing about the YA genre is that just because a book is about children, it is not necessarily for children. For example, Curtis Sittenfeld’s Prep is about a young girl from “the wrong side of the tracks” who ends up at a prestigious (read: rich) prep school and has to deal with not only being poor, but also simply being in high school. The subject matter is similar to Speak but the style, the content, is most certainly more “adult” than “young.” This is not to say that YA necessarily means “childish” (or that, conversely, “adult” literature is necessarily mature) it’s just that Prep feels like you need to have had adult experiences to connect with, whereas Speak makes sense as long as you’ve had high school experience.
Of course, a lot of high school kids probably have more “experience” than a lot of adults, but that’s another topic.
But it is the readers’ experience that is what makes YA able to straddle age-groups. Because, whereas teenagers may not connect with all the aspects of Prep (although, to be fair, Sittenfeld does a good job of painting high school relationships), adults have been to high school – for many, it was the greatest time of their lives – so reading YA actually makes sense. Considering many adults have teenagers of their own (you wacky Baby Boomers!), connections might be made that are even deeper than for those of us without.
What’s different about YA as a genre – as opposed to, say, science fiction or romance – is that it is more about audience than about content. So, while Prep probably falls under “literary fiction,” a book like Holes, by Louis Sachar (Wayside School, motherfu*@&$s!) is considered in the same genre as Speak. And it should, if that genre was labeled “awesome” (and, really, shouldn’t there be an “awesome” genre. I wonder where Dewey would put those decimals?). Holes – which was made into an excellent movie with Shia LeBouf (of “Even, Stevens” fame – well, I watched it) and the Fonz – is the story of a boy who is falsely convicted of theft and sent to a juvenile camp in the desert, where all day, every day, the boys are made to dig holes (once again, ingenious title). Sachar does a great job weaving the various characters and plot-lines (including moving back-and-forth in time), and keeps it whimsical enough for kids to enjoy, while clever enough for adults to not feel ridiculous.
Because that’s the other great feature of good YA: it makes sure that both kids and adults feel comfortable encountering it (think of teens, and how they balance those two age groups. Then think how touchy they can be. The last thing you want to do with that audience is talk-down-to or baby-up the writing. Try to be honest about yourself as a teen when you do this exercise). For example, although Eragon is wildly popular as a book (I think I heard somewhere the movie was not very good – someone needs to tell Jeremy Irons to stay out of fantasy movies), realistically, they do a poor job addressing adults. At least, they do a poor job of adults who have grown up reading science fiction/fantasy. Maybe this is jealousy (okay, this is blatantly jealously – I want to be published, too! (Probably should start writing. . .)), but if Christopher Paolini had been thirty when he wrote the first book, instead of nineteen or so, I doubt these books would have been as much of a success. It’s so obvious that Paolini has read all the books I did while growing up (Dragonlance, David Eddings, Terry Brooks, Robert Jordan, Terry Goodkind, Anne McCaffery – you know, beat-the-nerd fodder), and his books seems to do a fair job “borrowing” from them.
Of course, as Jonathan Lethem (of Fortress of Solitude and Motherless Brooklyn fame) wrote in his article “The Ecstasy of Influence” (February 2007 issue of Harper’s), writers have been biting off each other since the beginning of time.
(NOTE: The brilliance of Lethem’s essay is that he goes through example of example of borrowing, only to show in the end that his entire essay was in fact constructed entirely of “plagiarism.” It’s very cool, and I highly recommend it. On the flip-side, as a big fan of web-comics, you can check out this douche-berry (it could be a word) to see the “dark side” of plagarism. I'm changing an earlier position, to an extent).
That little tangent aside, read YA literature – because it truly is literature. If you don’t believe me, think about these titles: Lord of the Flies, Huckleberry Finn, Ender’s Game (okay, the last one might be a stretch), and tell me they aren’t literature. Go ahead. I dare you.
I double dare you.
Physical challenge!
Suffolk County, NY -- Library
theliterarylink.com
Alan-YA
Wikipedia--YA Literature
If you haven't read the comments, I suggest you do so -- they're pretty interesting.
I apologize. I might, at some point, go back and add more hyper-links, but I figured I’d left my readers waiting so long . . .
Leave me with my illusions!
Young Adult literature is often seen as being exactly that: books for
teenagers -- and that's it.
However, a lot of great books get unread by people who would probably
enjoy and appreciate the writing, if they either A) knew about the
books, and/or B) weren't embarrassed to be reading "kiddie" books.
Think about Harry Potter for example. Here were books (I find it hard to think that anyone considers them strictly YA anymore) that a lot of adults dismissed as being childish. But as they grew in popularity (and, for some reason, infamy), parents started reading the books to see “what all the fuss was about.” Well, it turns out the fuss was about awesome books that were just as much mystery/thrillers as they were children’s fantasy. And as Harry grew, so did the books, so that they got to be as mature (and annoying) as a teenager can be. It’s one of the many reasons J.K. Rowling is a genius.
There are billions of reasons, though . . .
Luckily for you all, I have no compunctions going into the kids
sections of book stores (looking like the bearded pedophile I am) and
buying these books to bring you good tidings.
The book is Speak by Laurie Halse Anderson, and it's a pretty
accurate look at the social hierarchy of high school from the
viewpoint of a freshman girl (I'm assuming, although I’m pretty sure more than one of you out there can relate). What's so great about the story is that there is clearly something that the narrator isn't telling us about what happened the
summer before she enters high school, and her quirks (such as rarely,
if ever speaking – like the title, Dave!), are somehow a result of this event. The mystery isn't really too hard to solve (one of the slight draw backs of the YA
genre), but it still is a good story.
An interesting thing about the YA genre is that just because a book is about children, it is not necessarily for children. For example, Curtis Sittenfeld’s Prep is about a young girl from “the wrong side of the tracks” who ends up at a prestigious (read: rich) prep school and has to deal with not only being poor, but also simply being in high school. The subject matter is similar to Speak but the style, the content, is most certainly more “adult” than “young.” This is not to say that YA necessarily means “childish” (or that, conversely, “adult” literature is necessarily mature) it’s just that Prep feels like you need to have had adult experiences to connect with, whereas Speak makes sense as long as you’ve had high school experience.
Of course, a lot of high school kids probably have more “experience” than a lot of adults, but that’s another topic.
But it is the readers’ experience that is what makes YA able to straddle age-groups. Because, whereas teenagers may not connect with all the aspects of Prep (although, to be fair, Sittenfeld does a good job of painting high school relationships), adults have been to high school – for many, it was the greatest time of their lives – so reading YA actually makes sense. Considering many adults have teenagers of their own (you wacky Baby Boomers!), connections might be made that are even deeper than for those of us without.
What’s different about YA as a genre – as opposed to, say, science fiction or romance – is that it is more about audience than about content. So, while Prep probably falls under “literary fiction,” a book like Holes, by Louis Sachar (Wayside School, motherfu*@&$s!) is considered in the same genre as Speak. And it should, if that genre was labeled “awesome” (and, really, shouldn’t there be an “awesome” genre. I wonder where Dewey would put those decimals?). Holes – which was made into an excellent movie with Shia LeBouf (of “Even, Stevens” fame – well, I watched it) and the Fonz – is the story of a boy who is falsely convicted of theft and sent to a juvenile camp in the desert, where all day, every day, the boys are made to dig holes (once again, ingenious title). Sachar does a great job weaving the various characters and plot-lines (including moving back-and-forth in time), and keeps it whimsical enough for kids to enjoy, while clever enough for adults to not feel ridiculous.
Because that’s the other great feature of good YA: it makes sure that both kids and adults feel comfortable encountering it (think of teens, and how they balance those two age groups. Then think how touchy they can be. The last thing you want to do with that audience is talk-down-to or baby-up the writing. Try to be honest about yourself as a teen when you do this exercise). For example, although Eragon is wildly popular as a book (I think I heard somewhere the movie was not very good – someone needs to tell Jeremy Irons to stay out of fantasy movies), realistically, they do a poor job addressing adults. At least, they do a poor job of adults who have grown up reading science fiction/fantasy. Maybe this is jealousy (okay, this is blatantly jealously – I want to be published, too! (Probably should start writing. . .)), but if Christopher Paolini had been thirty when he wrote the first book, instead of nineteen or so, I doubt these books would have been as much of a success. It’s so obvious that Paolini has read all the books I did while growing up (Dragonlance, David Eddings, Terry Brooks, Robert Jordan, Terry Goodkind, Anne McCaffery – you know, beat-the-nerd fodder), and his books seems to do a fair job “borrowing” from them.
Of course, as Jonathan Lethem (of Fortress of Solitude and Motherless Brooklyn fame) wrote in his article “The Ecstasy of Influence” (February 2007 issue of Harper’s), writers have been biting off each other since the beginning of time.
(NOTE: The brilliance of Lethem’s essay is that he goes through example of example of borrowing, only to show in the end that his entire essay was in fact constructed entirely of “plagiarism.” It’s very cool, and I highly recommend it. On the flip-side, as a big fan of web-comics, you can check out this douche-berry (it could be a word) to see the “dark side” of plagarism. I'm changing an earlier position, to an extent).
That little tangent aside, read YA literature – because it truly is literature. If you don’t believe me, think about these titles: Lord of the Flies, Huckleberry Finn, Ender’s Game (okay, the last one might be a stretch), and tell me they aren’t literature. Go ahead. I dare you.
I double dare you.
Physical challenge!
Suffolk County, NY -- Library
theliterarylink.com
Alan-YA
Wikipedia--YA Literature
If you haven't read the comments, I suggest you do so -- they're pretty interesting.
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