The Memoirs of a Dark God is a just a 60pg sample of the poetry I write. I selected out of all my poems, I have written over thousands, just a sneak preview of. The Memoirs of a Dark God, Clearwater, FL. likes · 1 talking about this. I write poetry and two years ago put my book into a published print.
It is dense and beautiful and heady, best suited for lovers of mystery and poetry. Now I know why. This book records the first year of the journey through loss, suffering, and heartache.
I appreciated this book for its unflinching honesty and its mix of all that is humorous and hard. I marveled at the way Tricia was able to cling to God in the midst of what felt like a senseless loss. It was doubt of all kinds, but primarily this problem of pain and suffering, that led Andrea away from church and Christianity. She carefully, articulately traces this journey of doubt and questions, never offering pat answers, confessing the ambiguity in beautiful, insightful prose. With a conversational, relatable tone and quirky, hilarious metaphors, Michelle brings her readers along on her journey of faith and doubt in the cornfields of Lincoln, Nebraska.
This is a fast, engaging read, and Esther is a master storyteller.
The stories she tells from her past will break your heart, but the way that she describes her recovery and the small ways she moves forward is inspiring, insightful and beautiful. Ewok Cook-Out. Blasted Contractors! Vader's Pastorale.
For Shmi. Parenting I Hate Waiting. About this blog This blog ran live in the spring of The project is now finished.
The complete text of Cheeseburger Brown 's popular fanfic tragicomedy along with bonus material not featured on the original weblog is available to download for free: The Darth Side PDF. Please consider leaving a tip if you've enjoyed what you've read, or showing your support by buying a 99 cent download of my novel Simon of Space : available now as a Kindle eBook or Non-Kindle eBook. The fact is -- and it has been widely documented -- we do still read. More than ever, in our diverse and volatile society, literary narratives offer a substitute for the institutions -- school, church, family -- that once furnished us with a sense of personal identity.
They want to read about someone's life and say, This is how it was. This really happened. The novelist writes disguised autobiography; the memoirist cuts to the chase. It could be the memoirist's credo. View all New York Times newsletters. The habit of self-examination can grow tiresome.
That a book purports to be a true confession doesn't mean it's good -- or, for that matter, true. As Janet Malcolm has noted with her characteristic tartness: "The subject of an autobiography is no less at the mercy of the writer than the subject of a biography. William Gass, in a recent Harper's essay, "The Art of Self: Autobiography in an Age of Narcissism," loudly objected that literature was being taken over by a bunch of narcissists: "Look, Ma, I'm breathing.
See me take my initial toddle, use the potty, scratch my sister, win spin the bottle. Gee whiz, my first adultery -- what a guy!
Point taken. But try reading Gass's bloated novel about a closet Nazi, "The Tunnel," on which he labored for three decades.
Fiction isn't delivering the news. Memoir is. At its best, in the hands of a writer able to command the tools of the novelist -- character, scene, plot -- the memoir can achieve unmatchable depth and resonance. Tending her postage stamp of reality, as Faulkner advised, Mary Karr conjures the simmering heat and bottled rage of life in a small Texas oil town with an intensity that gains power from its verisimilitude -- from the fact that it's fact. Contemporary memoir comes in many forms; it's as various as the stories its practitioners relate.
From edgy post-modern memoirs like "Sex Death Enlightenment: A True Story," by Mark Matousek, a harrowing account of his philandering mother, deadbeat dad and suicidal sister, to "Being Brett," Douglas Hobbie's devastating journal of his daughter's death, written in the third person as if no I could bear it , the genre eludes precise literary definition. Some memoirs are written as history, replete with documents and genealogies; others are terse, impressionistic catalogues of moments in a life.
What memoirists have discovered is that they can bring to their own stories the narrative sweep of fiction or biography. Fiction demands that the writer invent; memoir exploits as material the gift of lived experience. Tobias Wolff, like his brother, Geoffrey "The Duke of Deception" , alternates between fiction and memoir.
For me, the only way was to write my own memories. The memoirs assembled here reflect the energy of a generation of writers for whom fact has become as compelling a medium as fiction.
Mary Gordon's new book, "The Shadow Man," excerpted in these pages, is a startling departure from "Final Payments," the novel that established her reputation nearly two decades ago as a "Catholic" novelist. In "The Shadow Man," she revisits the theme of a daughter's struggle to resolve her feelings toward a dead father -- only in this instance, it's the actual father, Mary Gordon's father, and he turns out to have been Jewish, a revelation that transforms the author's life and brings it into sudden focus.
Many readers will also be familiar with the work of Leonard Michaels, a master of the short-story form, and Susan Cheever, best known for "Home Before Dark," a portrait of her famous novelist father. Art Spiegelman, whose comic-book portrait of his father's escape from the Nazis, "Maus," was one of the most original works to come out of the Holocaust, now turns to that event's meaning in his own life.
Others, introduced here to a wider public, have found in memoir the means to what Joyce Carol Oates calls, in her contribution to this issue, "an inventory of our lives.