1943. The world is deep in the grip of World War II, and there are fears that the war may never end, that it might turn out to be another Hundred Years' War.
John Easley is a journalist, deeply in love with his young wife, Helen. Yet when his younger brother is killed in the war, he struggles with his grief and his desire to ensure his brother's death wasn't in vain. He is determined to tell the U.S. a story of the war, particularly the Japanese occupation of the Aleutian Islands, which no one seems to know anything about, and reporters are sent away by the government.
"Action, he says, is the only language fit for love."
Against Helen's wishes, after a brutal argument, John decides to head back to the Aleutians and find out just what is going on. Hiding his true identity, he travels with a crew on a bombing run, when his plane is shot down over the remote island of Attu. Forced to face the harshest of elements and hide from Japanese soldiers, John must figure out how to survive to tell the story he needs to, and honor his brother's memory and the memory of those whose lives were lost in the war. And at the same time, he ponders his love for Helen, and their marriage, deeply affected by his inability to share his grief with her.
Meanwhile, back in Seattle, Helen is devastated by John's departure. While she tries to occupy her time caring for her elderly father, who suffered a stroke, she is desperate to find out where John is, and if he is okay. Yet the more she tries to find out where John has gone, or if he is okay, the more roadblocks she finds in her way. So she decides to do the only thing she cantry to find her way to the Aleutians, so she can find John and bring him back.
"Helen does not know how she is going to find him. She knows only that she must go there to do it."
Helen uses every trick she can to get into Alaska. She, too, must hide her true identity to get there, and put her own safety at risk. She also must leave her father, uncertain whether she will ever see him again. But for her, the only thought is finding her husband and bringing him home.
This is a tremendously compelling, beautifully written story about love, courage, determination, and finding the will to survive. It's amazing that for the majority of the book, John and Helen aren't together, except in reminiscences, yet their love story is so powerful. Brian Payton tells an excellent story, and this is a part of World War II I had no idea about. I felt drawn into the characters' struggles and emotions.
It's interestingso many movies are made from adaptations of books. I think this could be a beautiful movie, as long as it didn't lose the poetry of Payton's words. I really enjoyed this one.
Thursday, January 23, 2014
Sunday, January 19, 2014
Movie Review: "August: Osage County"
Well, if you've ever thought your family was crazy, watch August: Osage County and you'll feel better instantly. Because short of, say, Oedipus' family or perhaps Medea's, there's no one out there crazier than the Westons.
Violet Weston (Meryl Streep) is a chain-smoking, pill-popping shrew, living in a drug- and emotionally induced haze the majority of the time. (The fact that she's suffering from mouth cancer doesn't stop her smoking.) Her husband, famed poet Beverly Weston (Sam Shepard) numbs the anguish of living with his wife through alcohol, and the two spend their days sniping at each other. They live in a house in Oklahoma where the air conditioning is never turned on and the shades are taped shut, so there's no concept of whether it's day or night.
Beverly's sudden disappearance summons the Westons' three daughters. Ivy (Julianne Nicholson) is the only daughter who stayed in Oklahoma, and she has sacrificed a good deal of her life caring for her parents, despite the fact that she's clearly not her mother's favorite. Flighty Karen (Juliette Lewis) comes from Florida with her sleazy fiancée (Dermot Mulroney) in tow. And the prodigal daughter, Barbara (Julia Roberts) comes home as well, in the midst of a marital crisis of her own with her husband (Ewan McGregor) and the issues of raising a teenage daughter (Abigail Breslin). Vi's sister, Mattie Fae (Margo Martindale) and her husband, Charlie (Chris Cooper) come to the rescue as well, and when Beverly's disappearance turns out to be a suicide, the pair's son, Little Charles (Benedict Cumberbatch) comes as well, to face prolonged haranguing from his mother.
Crisis brings out the worst in people, and as the family gathers to mourn Beverly's loss, the claws, old grudges and hurts, and occasional good memories come to the surface. Vi strikes out at whomever she canshe's angry at Barbara for taking away her pills (not to mention for leaving Oklahoma in the first place), at her husband for abandoning her, at her daughters for trying to control her life. She spends a lot of time doing what she calls "truth telling"in essence, prying into people's lives and insulting them wherever she can. But clearly all of this venom serves as armor from a lifetime of dissatisfaction and hurt.
But unlike most families that come together to mourn, this gathering is marked by the disclosure of many painful and surprising secrets that threaten to tear the family further apart. Barbara is torn between wanting to rebuild her marriage and wallow in her anger about having to be back home in Oklahoma, confronted by the dysfunction she desperately wanted to escape. Ivy wants to finally stop sacrificing her own life and build a future with the man she loves, and Karen keeps looking for love in the wrong places.
Based on Tracy Letts' Pulitzer- and Tony Award-winning play, this is a tremendously melodramatic film, one which at times feels a little more like a television movie than a feature film. I felt as if the movie layered on so many different issues, crises, and secrets that I just kept waiting for the next thing to happen. (I was glad that the bombshells stopped at one point.) But the movie's humor (and lots of profanity) keeps it from turning utterly maudlin.
What elevates this movie is the fantastic acting. Streep tears into her part with incredibly emotional gusto, and this performance is definitely among some of her strongest in recent years, clearly deserving of her 18th Oscar nomination, which she received earlier this week.
But as good as Streep is, I was dazzled even more by Julia Roberts. Stripped bare of her glamor without it feeling gimmicky, her performance is emotionally charged and complex, and has a maturity that I thought was tremendous. In my opinion, it's one of her two best performances, and I hope she gets more opportunities to portray characters like this. (In almost any other year, this performance could net Roberts her second Oscar, but I think the competition in the Best Supporting Actress category is just too good this year.)
While this movie is mostly dominated by Streep and Roberts, many of the other actors have moments as well. Julianne Nicholson, following up her strong performance on Showtime's Masters of Sex is beautifully vulnerable as the daughter who has put her own life on hold for far too long, only to discover her dreams may go awry because of her family. Chris Cooper and Margo Martindale have some terrific scenes as well, and while one of my favorites, Benedict Cumberbatch, doesn't have a big role, he still manages to touch your heart.
I didn't love the movie but I thought the performances were pretty stellar. If you're a fan of melodrama, this is a movie for you; if not, you'll still be rewarded by some fantastic acting if you're willing to endure the soap opera for about two hours.
Violet Weston (Meryl Streep) is a chain-smoking, pill-popping shrew, living in a drug- and emotionally induced haze the majority of the time. (The fact that she's suffering from mouth cancer doesn't stop her smoking.) Her husband, famed poet Beverly Weston (Sam Shepard) numbs the anguish of living with his wife through alcohol, and the two spend their days sniping at each other. They live in a house in Oklahoma where the air conditioning is never turned on and the shades are taped shut, so there's no concept of whether it's day or night.
Beverly's sudden disappearance summons the Westons' three daughters. Ivy (Julianne Nicholson) is the only daughter who stayed in Oklahoma, and she has sacrificed a good deal of her life caring for her parents, despite the fact that she's clearly not her mother's favorite. Flighty Karen (Juliette Lewis) comes from Florida with her sleazy fiancée (Dermot Mulroney) in tow. And the prodigal daughter, Barbara (Julia Roberts) comes home as well, in the midst of a marital crisis of her own with her husband (Ewan McGregor) and the issues of raising a teenage daughter (Abigail Breslin). Vi's sister, Mattie Fae (Margo Martindale) and her husband, Charlie (Chris Cooper) come to the rescue as well, and when Beverly's disappearance turns out to be a suicide, the pair's son, Little Charles (Benedict Cumberbatch) comes as well, to face prolonged haranguing from his mother.
Crisis brings out the worst in people, and as the family gathers to mourn Beverly's loss, the claws, old grudges and hurts, and occasional good memories come to the surface. Vi strikes out at whomever she canshe's angry at Barbara for taking away her pills (not to mention for leaving Oklahoma in the first place), at her husband for abandoning her, at her daughters for trying to control her life. She spends a lot of time doing what she calls "truth telling"in essence, prying into people's lives and insulting them wherever she can. But clearly all of this venom serves as armor from a lifetime of dissatisfaction and hurt.
But unlike most families that come together to mourn, this gathering is marked by the disclosure of many painful and surprising secrets that threaten to tear the family further apart. Barbara is torn between wanting to rebuild her marriage and wallow in her anger about having to be back home in Oklahoma, confronted by the dysfunction she desperately wanted to escape. Ivy wants to finally stop sacrificing her own life and build a future with the man she loves, and Karen keeps looking for love in the wrong places.
Based on Tracy Letts' Pulitzer- and Tony Award-winning play, this is a tremendously melodramatic film, one which at times feels a little more like a television movie than a feature film. I felt as if the movie layered on so many different issues, crises, and secrets that I just kept waiting for the next thing to happen. (I was glad that the bombshells stopped at one point.) But the movie's humor (and lots of profanity) keeps it from turning utterly maudlin.
What elevates this movie is the fantastic acting. Streep tears into her part with incredibly emotional gusto, and this performance is definitely among some of her strongest in recent years, clearly deserving of her 18th Oscar nomination, which she received earlier this week.
But as good as Streep is, I was dazzled even more by Julia Roberts. Stripped bare of her glamor without it feeling gimmicky, her performance is emotionally charged and complex, and has a maturity that I thought was tremendous. In my opinion, it's one of her two best performances, and I hope she gets more opportunities to portray characters like this. (In almost any other year, this performance could net Roberts her second Oscar, but I think the competition in the Best Supporting Actress category is just too good this year.)
While this movie is mostly dominated by Streep and Roberts, many of the other actors have moments as well. Julianne Nicholson, following up her strong performance on Showtime's Masters of Sex is beautifully vulnerable as the daughter who has put her own life on hold for far too long, only to discover her dreams may go awry because of her family. Chris Cooper and Margo Martindale have some terrific scenes as well, and while one of my favorites, Benedict Cumberbatch, doesn't have a big role, he still manages to touch your heart.
I didn't love the movie but I thought the performances were pretty stellar. If you're a fan of melodrama, this is a movie for you; if not, you'll still be rewarded by some fantastic acting if you're willing to endure the soap opera for about two hours.
Labels:
crazy,
death,
drama,
family,
grief,
loss,
love,
marriage,
movie reviews,
relationships
Saturday, January 18, 2014
Fade in on a, well...
I was a huge fan of NBC's Smash in its first season. It was a show I had eagerly anticipated after first seeing the trailer, and once I started watching it, I loved the music from the show-within-a-show, and thought that many of the performances were great (despite that creepy, annoying Ellis). But when the show changed hands in its second season, the show (in my opinion) lost its focus, and quickly lost my interest.
But harkening back to that first season, one of my favorite songs was Let Me Be Your Star, which was performed in the trailer. A duet between Katharine McPhee and Megan Hilty, the two actresses vying for the role of Marilyn Monroe in the fictional musical Bombshell, the song hits on many feelings which should be familiar to anyone who has ever hoped to land a part in a production of any kind.
While on a surf of random videos on YouTube earlier today, I stumbled upon this version of Let Me Be Your Star, performed by Tony Award nominees Jeremy Jordan (who appeared in Smash's second season) and Jonathan Groff. It's a little campy (especially when the two don Marilyn wigs), but both are in pretty fine voice, and I thought it was too good not to share.
And for old time's sake, here's the original duet between McPhee and Hilty. Still gives me chills.
Labels:
celebrities,
music,
musicals,
pop culture,
television,
theater
Book Review: "The Kept" by James Scott
Gothic. That's the word that kept coming to mind when I was reading James Scott's The Kept. Not quite creepy but definitely atmospheric, this was a tense, compelling book that kept me hooked and wondering what was going to happen next.
One snowy day in upstate New York in 1897, Elspeth Howell returns to her home after spending a few months away working as a midwife and doctor's assistant in a distant town. She comes bearing gifts for each child (she's been gone so often that she has to keep a list of their ages), and looks forward to seeing her husband, Jorah, and their five children, even though her returns home are always a bit awkward.
Yet when she arrives at her house, she finds disaster. Her husband and four of her children were murdered, and her 12-year-old son Caleb appears to be missing. And then, startled by his mother's arrival, Caleb accidentally shoots Elspeth, thinking that the murderers had returned. This continues the unthinkable nightmare for Caleb, a child more comfortable in silence than speaking, one whose nightmares led him to sleep in the barn near the family's animals, as their presence comforts him.
Caleb worries that he has killed his mother, and tries to nurse her back to health. And when another mishap destroys the family's home, Caleb must carry Elspeth through the snow. They come upon the town of Watersbridge in search of the killers, and as they try to find them, they both happen upon jobsElspeth, pretending to be a man, begins working at an icehouse, while Caleb becomes a servant at an inn serving the town's gambling, prostitution, and violent urges.
It turns out Elspeth has far more secrets than Caleb could ever imagine, and Elspeth believes the tragedy visited upon her family was in retribution for her sins. As Caleb starts to find out more about who he truly is, and the truth about his mother, he is torn between hatred and loyalty, but ultimately, he is determined to make those who killed his siblings and his father pay. And Elspeth feels that seeing this mission to its end, no matter how it turns out, is the only way she can atone for what she did.
There's more to this book, but I'm going to get further into the plot (although some reviews have), because I think some of its appeal lies in the way the story unfolds. Caleb is a fascinating charactera fearful, troubled child who at the start of the book almost seems to have some sort of intellectual disability, but it turns out he's just been sheltered by his Bible-loving father and his absent mother. Elspeth is very complexyou understand her motivations and yet cannot sympathize with her actions, but you still feel sorry for her.
As I first started reading the book, I wasn't sure what was going to happen, but James Scott hooks you fairly quickly and doesn't divulge everything right away. It's a strange and slightly creepy book, but Scott is an excellent storyteller, and I'm really glad to have found The Kept.
One snowy day in upstate New York in 1897, Elspeth Howell returns to her home after spending a few months away working as a midwife and doctor's assistant in a distant town. She comes bearing gifts for each child (she's been gone so often that she has to keep a list of their ages), and looks forward to seeing her husband, Jorah, and their five children, even though her returns home are always a bit awkward.
Yet when she arrives at her house, she finds disaster. Her husband and four of her children were murdered, and her 12-year-old son Caleb appears to be missing. And then, startled by his mother's arrival, Caleb accidentally shoots Elspeth, thinking that the murderers had returned. This continues the unthinkable nightmare for Caleb, a child more comfortable in silence than speaking, one whose nightmares led him to sleep in the barn near the family's animals, as their presence comforts him.
Caleb worries that he has killed his mother, and tries to nurse her back to health. And when another mishap destroys the family's home, Caleb must carry Elspeth through the snow. They come upon the town of Watersbridge in search of the killers, and as they try to find them, they both happen upon jobsElspeth, pretending to be a man, begins working at an icehouse, while Caleb becomes a servant at an inn serving the town's gambling, prostitution, and violent urges.
It turns out Elspeth has far more secrets than Caleb could ever imagine, and Elspeth believes the tragedy visited upon her family was in retribution for her sins. As Caleb starts to find out more about who he truly is, and the truth about his mother, he is torn between hatred and loyalty, but ultimately, he is determined to make those who killed his siblings and his father pay. And Elspeth feels that seeing this mission to its end, no matter how it turns out, is the only way she can atone for what she did.
There's more to this book, but I'm going to get further into the plot (although some reviews have), because I think some of its appeal lies in the way the story unfolds. Caleb is a fascinating charactera fearful, troubled child who at the start of the book almost seems to have some sort of intellectual disability, but it turns out he's just been sheltered by his Bible-loving father and his absent mother. Elspeth is very complexyou understand her motivations and yet cannot sympathize with her actions, but you still feel sorry for her.
As I first started reading the book, I wasn't sure what was going to happen, but James Scott hooks you fairly quickly and doesn't divulge everything right away. It's a strange and slightly creepy book, but Scott is an excellent storyteller, and I'm really glad to have found The Kept.
Labels:
book reviews,
children,
crime,
family,
fiction,
loss,
murder,
parenthood
Thursday, January 16, 2014
Oscar nominations: how did I do?
Usually when the Oscar nominations are announced each year I'm surprised, and not always pleasantly. Today was no exception to the surprise rule, but honestly, I wasn't really disappointed by anything, exception the omission of those I was hoping for but knew probably wouldn't get nominated.
So comparing my predictions to the reality of today's nominations, how did I do?
Best Picture
12 Years a Slave
American Hustle
Captain Phillips
Dallas Buyers Club
Gravity
Her
Nebraska
Philomena
The Wolf of Wall Street
Analysis: I actually had all nine nominees, but I thought the Academy might go with a 10th. I thought Philomena wasn't quite Best Picture-worthy (although charming), and am surprised that Saving Mr. Banks apparently didn't resonate with Academy voters. (More on that in a bit.) Thrilled Her made the cut; unimpressed with The Wolf of Wall Street; and although I knew it wouldn't happen, still hoped for a surprise from Fruitvale Station.
Best Actor
Christian Bale, American Hustle
Bruce Dern, Nebraska
Leonardo DiCaprio, The Wolf of Wall Street
Chiwetel Ejiofor, 12 Years a Slave
Matthew McConaughey, Dallas Buyers Club
Analysis: I went 3/5 in my predictions, although I said Bale and DiCaprio were possibilities. I am shocked (but not disappointed) that Robert Redford wasn't nominated, in that I thought there was more hype than substance, and while I didn't see Captain Phillips, I suffer from Tom Hanks fatigue since my bitterness over his back-to-back wins in 1993 and 1994, so I wasn't upset by this omission.
Best Actress
Amy Adams, American Hustle
Cate Blanchett, Blue Jasmine
Sandra Bullock, Gravity
Judi Dench, Philomena
Meryl Streep, August: Osage County
Analysis: I went 4/5 here. I'm shocked, honestly, that Emma Thompson didn't get nominated for Saving Mr. Banks. This was a tough category and someone was going to get left out. I'm just glad Amy Adams didn't. (I'd still vote for Cate Blanchett, but wanted Adams in the category.) Congratulations to Meryl Streep for her 18th nominations!
Best Supporting Actor
Barkhad Abdi, Captain Phillips
Bradley Cooper, American Hustle
Michael Fassbender, 12 Years a Slave
Jonah Hill, The Wolf of Wall Street
Jared Leto, Dallas Buyers Club
Analysis: I went 4/5 here. Honestly, Jonah Hill's nomination surprised me. He was good, but I thought Will Forte in Nebraska and James Gandolfini in Enough Said gave stronger performances. Daniel Bruhl received Golden Globe and SAG nominations for his performance as real-life race car driver Niki Lauda, but didn't make the Oscar cut, much like John Hawkes in The Sessions last year and Mila Kunis in Black Swan in 2010.
Best Supporting Actress
Sally Hawkins, Blue Jasmine
Jennifer Lawrence, American Hustle
Lupita Nyong'o, 12 Years a Slave
Julia Roberts, August: Osage County
June Squibb, Nebraska
Analysis: I went 4/5 here, too, but I am thrilled, quite honestly, that Oprah Winfrey wasn't nominated, and Sally Hawkins was in her place. This is a terrific category.
Best Director
Alfonso Cuaron, Gravity
Steve McQueen, 12 Years A Slave
Alexander Payne, Nebraska
David O. Russell, American Hustle
Martin Scorsese, The Wolf of Wall Street
Analysis: If you're sensing a theme, I went 4/5 here as well. Alexander Payne's nomination is no surprise and is well-deserved, although I am surprised that Paul Greengrass didn't get nominated for Captain Phillips. I was hoping Spike Jonze would be nominated for Her but didn't expect it. And I'll admit that as much as I'm a Scorsese fan, this nomination wasn't deserved in my opinion, as I thought the movie was bloated and overdone.
And there you have it. We'll see who emerges victorious on March 2!!
Wednesday, January 15, 2014
Oscar nominations: who's gonna get 'em?
Many of you who know me know that I've been fairly obsessed with the Oscars for a number of years. We make an effort to see every movie that's nominated in the major categories (if we haven't anyway), and I keep close track of all of the film critics' awards and other awards shows leading up to the Oscars.
And then there's the small matter of being able to name every nominee in every major category (picture, actor, actress, supporting actor/actress, director) from every year. (Don't judge.)
Tomorrow morning, the nominations for the 86th Academy Awards will be announced. As I've done the last few years, I'm going to make my predictions of who I think will be nominated. I'm never 100 percent right in any category because there's always a surprise or two, but I can usually predict if there are going to be surprises who the surprises might be.
So, here goes:
Best Picture
12 Years a Slave
American Hustle
Captain Phillips
Dallas Buyers Club
Gravity
Her
Nebraska
Philomena
Saving Mr. Banks
The Wolf of Wall Street
Analysis: The last few years the Academy has nominated nine films for Best Picture, but the number can be anywhere between 5 and 10. I went with 10 this year, although I think the potential nominees most likely not to make the list are Dallas Buyers Club, Her, Philomena, and/or The Wolf of Wall Street. If there's one more film that could sneak in instead, it's Inside Llewyn Davis. And if I voted, among these nominees would be one of my favorite films of the year, Fruitvale Station.
Best Actor
Bruce Dern, Nebraska
Chiwetel Ejiofor, 12 Years a Slave
Tom Hanks, Captain Phillips
Matthew McConaughey, Dallas Buyers Club
Robert Redford, All is Lost
Analysis: I'd love to see Christian Bale on this list for American Hustle instead of Redford (scandalous, I know), but I don't think that will happen. Leonardo DiCaprio could sneak in for The Wolf of Wall Street as well. I thought Oscar Isaac was fantastic in Inside Llewyn Davis, but I can't imagine that will happen.
Best Actress
Amy Adams, American Hustle
Cate Blanchett, Blue Jasmine
Sandra Bullock, Gravity
Meryl Streep, August: Osage County
Emma Thompson, Saving Mr. Banks
Analysis: I worry about Amy Adams' lock on a nomination, but I think she so deserves one. The one I'm most unsure of is Meryl Streep for August: Osage County, which many have said was one of her best performances. Do voters have Streep fatigue, or will they give her an 18th nomination? Judi Dench could take her place for Philomena, but again, is there Dench fatigue in the Academy? Kate Winslet has an outside chance for Labor Day (she got a Golden Globe nod), but I doubt it. In my perfect world, the amazing Brie Larson would get nominated for Short Term 12, but hey.
Best Supporting Actor
Barkhad Abdi, Captain Phillips
Daniel Bruhl, Rush
Bradley Cooper, American Hustle
Michael Fassbender, 12 Years a Slave
Jared Leto, Dallas Buyers Club
Analysis: James Gandolfini could sneak in here, with a posthumous nod for his fantastic performance in Enough Said. There's also an outside possibility that either Tom Hanks or Matthew McConaughey could be a double nominee, with a nod for Saving Mr. Banks or The Wolf of Wall Street, respectively. I'd cheer if Will Forte squeezed his way in for his great work in Nebraska, but I won't get my hopes up.
Best Supporting Actress
Jennifer Lawrence, American Hustle
Lupita Nyong'o, 12 Years a Slave
Julia Roberts, August: Osage County
June Squibb, Nebraska
Oprah Winfrey, Lee Daniels' The Butler
Analysis: No offense, Oprah fans, but I'm hoping her name doesn't get called tomorrow morning. I just didn't think her performance was substantial enough for a nodshe did a lot of glowering and smoking. (And I'm not saying her time on screen wasn't substantial enough, I just didn't think the role was.) But I expect her to get nominated, partially because it will be the only major recognition the movie gets, and partially because, well, she's Oprah. Sally Hawkins was phenomenal in Blue Jasmine, but seeing as she didn't get an Oscar nod after winning a Best Actress Golden Globe for Happy Go-Lucky a few years back, I don't think it will happen here.
Best Director
Alfonso Cuaron, Gravity
Paul Greengrass, Captain Phillips
Steve McQueen, 12 Years A Slave
David O. Russell, American Hustle
Martin Scorsese, The Wolf of Wall Street
Analysis: This is the toughest category to predict, partially because now there are never enough nominees to match the Best Picture nominees, and partially because the directors' branch is notoriously ornery some years. (They didn't nominate Ben Affleck last year and Argo won Best Picture!) Scorsese might miss out this year, in place of Alexander Payne for Nebraska, Spike Jonze for Her, or even the Coen Brothers for Inside Llewyn Davis.
How close will I come? I'll report back tomorrow...
Tuesday, January 14, 2014
Book Review: "Fairyland: A Memoir of My Father" by Alysia Abbott
Alysia Abbott was two years old when her mother was killed in a car accident. Her parents had a rather unorthodox relationship (it was the early 1970s, after all)her father was bisexual and dated men while he and her mother were together, while her mother also dated other men, including a suicidal patient she counseled as a psychologist.
After her mother's death, Alysia and her father, Steve, moved to San Francisco, where he fully immersed himself in the gay culture of the city. A poet, writer, and activist, Steve was determined to find his place in the literary world and, most importantly, find a man to share his life with. And while he was committed to ensuring Alysia had a good life and was cared for, as many parents can understand, sometimes his responsibilities as a father didn't necessarily dovetail with his own wants and desires.
"If he was sometimes a failure as a parent, he was always a noble failure. He tried to do what he thought was best even if he didn't always know what 'best' was or how to achieve it."
Fairyland is a complex and poignant tribute. Using her father's letters, journal entries, and other writings, combined with her own recollections, Alysia Abbott tells the story of an emotional, unshakeable bond, but one which was difficult at times to maintain. As she grew up, Alysia wanted a "normal" life more than anythingeven in San Francisco, she knew no other children being raised by a single gay parent. She was forced to hide her father's sexuality from her maternal grandparents, but she chose to hide it from school friends and others, preferring to tell peers that her father was so consumed by grief over her mother's death that he couldn't handle another relationship.
More than anything, Alysia resented having to share her father with his literary pursuits and his search for a romantic relationship, and Steve resented Alysia's lack of respect for his needs and her treatment of his potential boyfriends. At times, the burden of fatherhood overwhelmed him.
"My father expressed resentment because I asked him to fix me breakfast when, at age four, I was 'perfectly capable of doing it alone.' Maybe Dad couldn't understand my needs because our life was populated by so many needy wanderers like himself, young people escaping bad homes and bad marriages, all searching for their true selves and open to anything that might further that quest."
Alysia didn't remember when her father told her he was HIV-positive, but she never truly accepted that diagnosis, which in the 1980s proved to be a death sentence for most people. She never dealt with the idea that one day her father would grow so ill that he'd need her to care for him, that one day he'd die. As Fairyland chronicled the decline of Steve's health and his growing dependency on Alysia, it was truly accurate in the range of emotions that family members go through when their loved one is dying.
The book doesn't paint an altogether rosy picture of Alysia and Steve's life together. Alysia is fairly honest in depicting her flaws and how they affected her relationship with her fathershe was often selfish, demanding, and resentful of others who tried to become part of Steve's life. It's clear it's taken her many years to come to terms with some of her feelings about her father. At the same time, Steve's journal entries clearly delineate his own struggles with fatherhood and how he sometimes wished he didn't have to care for his daughter himself. I found myself sympathizing with both people at different times throughout the book.
I really enjoyed this. It was beautifully written and while it is emotionally moving, it isn't maudlin, which it certainly could have been. It's also evocative in its depiction of how the early days of the AIDS crisis affected the gay community in San Francisco. I feel grateful that Alysia Abbott was willing to share her father and their life with us.
"Dad could always make me feel better when the world outside made me feel strange. Dad was the one who loved me best of all."
After her mother's death, Alysia and her father, Steve, moved to San Francisco, where he fully immersed himself in the gay culture of the city. A poet, writer, and activist, Steve was determined to find his place in the literary world and, most importantly, find a man to share his life with. And while he was committed to ensuring Alysia had a good life and was cared for, as many parents can understand, sometimes his responsibilities as a father didn't necessarily dovetail with his own wants and desires.
"If he was sometimes a failure as a parent, he was always a noble failure. He tried to do what he thought was best even if he didn't always know what 'best' was or how to achieve it."
Fairyland is a complex and poignant tribute. Using her father's letters, journal entries, and other writings, combined with her own recollections, Alysia Abbott tells the story of an emotional, unshakeable bond, but one which was difficult at times to maintain. As she grew up, Alysia wanted a "normal" life more than anythingeven in San Francisco, she knew no other children being raised by a single gay parent. She was forced to hide her father's sexuality from her maternal grandparents, but she chose to hide it from school friends and others, preferring to tell peers that her father was so consumed by grief over her mother's death that he couldn't handle another relationship.
More than anything, Alysia resented having to share her father with his literary pursuits and his search for a romantic relationship, and Steve resented Alysia's lack of respect for his needs and her treatment of his potential boyfriends. At times, the burden of fatherhood overwhelmed him.
"My father expressed resentment because I asked him to fix me breakfast when, at age four, I was 'perfectly capable of doing it alone.' Maybe Dad couldn't understand my needs because our life was populated by so many needy wanderers like himself, young people escaping bad homes and bad marriages, all searching for their true selves and open to anything that might further that quest."
Alysia didn't remember when her father told her he was HIV-positive, but she never truly accepted that diagnosis, which in the 1980s proved to be a death sentence for most people. She never dealt with the idea that one day her father would grow so ill that he'd need her to care for him, that one day he'd die. As Fairyland chronicled the decline of Steve's health and his growing dependency on Alysia, it was truly accurate in the range of emotions that family members go through when their loved one is dying.
The book doesn't paint an altogether rosy picture of Alysia and Steve's life together. Alysia is fairly honest in depicting her flaws and how they affected her relationship with her fathershe was often selfish, demanding, and resentful of others who tried to become part of Steve's life. It's clear it's taken her many years to come to terms with some of her feelings about her father. At the same time, Steve's journal entries clearly delineate his own struggles with fatherhood and how he sometimes wished he didn't have to care for his daughter himself. I found myself sympathizing with both people at different times throughout the book.
I really enjoyed this. It was beautifully written and while it is emotionally moving, it isn't maudlin, which it certainly could have been. It's also evocative in its depiction of how the early days of the AIDS crisis affected the gay community in San Francisco. I feel grateful that Alysia Abbott was willing to share her father and their life with us.
"Dad could always make me feel better when the world outside made me feel strange. Dad was the one who loved me best of all."
Labels:
book reviews,
family,
gay,
growing up,
illness,
loss,
memoirs,
nonfiction,
parenthood
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