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Paradoxical and Presumptuous

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Paradoxical and Presumptuous


And here she is as a teenager, living in better circumstances after moving out of the housing project, but evidently still suffering from FDSS (Flat Declarative Sentence Syndrome).

Needless to say, none of these issues attach to memoirs whose beauty, and reason for existence, are beyond question – such as, to take just one example, All The Strange Hours, by the naturalist and environmentalist Loren Eiseley, who grew up in poverty and squalor with a mentally ill mother, turned to the natural world for consolation, and made out of a tangle of weeds and a beating of wings a brilliant career. Even in our trivial and celebrity-obsessed culture we still are, most of us, capable of standing in awe of beauty, or at the very least are willing to honor achievement on the scale of Eiseley and others like him.


cover art

Who Do You Think You Are?: A Memoir

Alyse Myers

(Simon & Schuster; US: Apr 2009)

But it’s hard to know what to make of something like Alyse Myers’ first book, Who Do You Think You Are? (the very title of which, incidentally, neatly expresses the paradox and presumptuousness behind the memoir genre.) 


This particular question was asked of the young Alyse by her mother, who is not mentally ill but is a nasty, violent, insecure, chain-smoking piece of work who argued constantly with Alyse’s father. He wasn’t any better: He was absent for long periods of time, hid a couple of dark secrets from his children as parents in memoirs are wont to do, and died young (he wore a colostomy bag for unspecified reasons, and was always in pain).


The two of them made for Alyse and her two sisters a miserable home in the housing projects of Long Island, Queens in her early years. As Alyse grew older, her relationship with her widowed mother was so toxic and intolerable that she became an intermittent vagabond, sleeping on the couches of relatives before moving out on her own.


This book, like many memoirs of its type, is inspiring and almost ennobling. Consider that the question, “who do you think you are?”, when asked of a child by its parents, is a form of deeply twisted love:  The parent has been embittered and disappointed by life, and, fearing the same for the child, attempts to discourage false hopes. In the worst cases, this tendency (and their own envy of their child’s burgeoning abilities) leads them to destroy their children and, in a self-fulfilling prophecy, “prove” to them that there was no point in striving for a better existence.


This is certainly the modus operandi of Alyse Myers’ mother, who calls Alyse a snob for wanting a better life, and brands her as selfish, slaps her around, kicks her out of the house, and then watches apathetically as Alyse transcends her oppressive upbringing to become: first a writer and executive for the New York Times; second, a better mother on all evidence than her own mother; and third, the author of this book.


But for all of Myers’ emotional honesty and spiritual strength in surviving her mother’s psychic reign of terror, there is something deeply unsatisfying about Who Do You Think You Are? 


Regrettably, there are many millions of children whose upbringings are as bad as or worse than Alyse Myers’. So why has hers, and her admirable rise to success, been immortalized in the form of a memoir that has been published by an imprint of Simon and Schuster and blurbed by the likes of the late Frank McCourt, the esteemed critic Terry Teachout and, yes, the New York Times?


Why, to put it bluntly, should we care?  Why should we shell out $15 in these tough economic times to buy the paperback story of someone else’s difficult childhood?  Why should we take the time to read about her life instead of focusing on our own?


What, in short, makes her so special?


Unfortunately, that isn’t an easy question to answer. While Myers’ story is gripping enough, it is hardly unusual and, when compared to some lives, not really all that harrowing.


Of far greater concern, however, is her selection of narrative voice – a shockingly dumbed-down prose style that appears to be pitched to the level of first-grade comprehension. At first, because she tells her story chronologically, I assumed that Myers was attempting to speak in the voice of a little girl, but that voice never changes throughout the 247 insistently staccato pages of this book, even as she recounts her growth as a person and as a writer.


Here she is, for example, writing about her memories as a ten-year-old in the voice of a six-year-old:


Ding-dong ding-dong ding-dong.


He was back.


And they were fighting again.


Ding-dong ding-dong ding-dong.


It was late in the night and he was ringing the doorbell. He wouldn’t stop.


I could tell this wasn’t the usual I-hate-you-and-wish-you-were-dead fighting.


And here she is as a teenager, living in better circumstances after moving out of the housing project, but evidently still suffering from FDSS (Flat Declarative Sentence Syndrome):


The new apartment was clean and quiet. We still had two bedrooms, but now we lived in a building where the elevator worked, we had air conditioners, and the hallways didn’t smell like urine. We no longer had to listen to the garbage trucks coming in and out of the garage all night. We could see a small playground from the big window that extended from the dining area to the living room.


Does that thrillingly evoke for you in vivid and particular detail the way her new or old apartments looked and smelled and felt? 


Didn’t think so.


There is not a single moment of humor or wit in these pages. No figures of speech or metaphors, no memorable imagery, no language that is heightened or eloquent or cutting or fierce. If what Myers was attempting to achieve through this strategy was a sense of numbness, she has succeeded well, but at the cost of committing, again and again, the “imitative fallacy” (the mistaken belief that the tone of a narrative must imitate the inner state of the protagonist, so that the story of a boring and conventional person becomes inevitably boring and conventional instead of, as it should be, witty or scathing.)


And here she is as an adult, a former assistant at a publishing company and by now employed by the nation’s newspaper of record, visiting her mother’s hospital room during her dying days:


I was glad my middle sister came into the room. I didn’t want to have this conversation anymore.


The three of us chatted about the weather and my mother complimented my sister’s coat.


Then a doctor I had never seen before came into the room…


He asked if these two beautiful young ladies were her daughters.


My mother nodded.


He looked like he was my age. Thirty-seven.


‘I just looked over your chart,’ he told her. Yes, we could see that.


She nodded, again.


‘And I think you know,’ he continued, ‘that we’ve done everything we can to help you.’


He patted her leg under the blanket as he was talking.


‘I wish we could do more,’ he told her, as he was patting her leg.


Stop patting her leg, I wanted to tell him. Stop talking, I kept thinking. And who the hell are you, anyway?  I’ve never seen you before, so get out of her room. Now.


‘I wish we could do more,’ he said, still patting.


Stop talking, I kept thinking. Stop, stop, stop. Don’t you know you’re not supposed to say anything?


It’s an act of courage, or at least bravado, to expose yourself and your emotions as you sit at the bedside of the mother you hated and loved in varying measures, watching her suffer and die. But when you are reduced to expressing these powerful emotions through Dick and Jane prose like “stop, stop, stop,” it would appear to be something else entirely that is being exposed.


Most of the successful memoirs in recent years have been parables about crushed innocence that manages somehow to metamorphose into adult wisdom and acceptance. There is no question that Myers has achieved a hard-won wisdom; the latter part of the book, in fact, is a large-hearted account of how she became a far-better mother to her own daughter than her mother ever was to her, and yet managed to do so without holding onto very much bitterness about her own miserable upbringing. In fact, the manner in which she and her mother achieve a rapprochement late in her mother’s life, and the way in which she cares for her mother during her last illness, is touching.


Nowadays, of course, most parents don’t even say “Who do you think you are?”  They say, instead, “You can be whatever you want to be.”  While surely an improvement over the old mode of parenting, it still is not much more than a comforting lie (the world can hold only so many Broadway performers and New York Knicks, and even fewer princesses and astronauts). And to the extent that it is true at all, it applies primarily to those who are willing and able to transcend not only their circumstances, but their chosen genres, as well. 


Alyse Myers has every right to feel proud of her successful journey into adulthood, and every right to tell her story. But it remains to be seen if this is the only story she has to tell – and, should there be another one, whether she can locate a compelling narrative voice that establishes her as not merely an author, but as a writer.

Michael Antman is a two-time finalist for the National Book Critics Circle Balakian Award for Excellence in Reviewing. He is the author of the novel Cherry Whip (ENC Press, 2004), and recently completed a new novel, Everything Solid Has a Shadow. His website, where most of his writing is collected, is at Michael Antman Author.com.


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