It is once again time to have a bit of a break and this time I am aiming for a two-week break. I find it much better to be proactive when certain little signs begin to appear in my health than to wait for something more major to occur. So a little downtime and a little more sleep are what I require at the moment. So, I’ll be back in a couple of weeks.
Hi all. You may have noticed the decline in the number of posts recently. The reason for that decline has been ill health and I need to take a break for a week or two. So I’ll be back posting after a short recess. Thanks.
Just a quick post to let everyone know that this Blog will be on a break from now, over the silly season and should return early in the New Year. This isn’t so much because of Christmas and the New Year directly, but because my work schedule is so great and I won’t have the time to put in on the Blog during this period. I would have liked to keep up the posts, but it has become clear I just can’t keep it up at the moment – it is far too busy at work and with increasing staff shortages over the next couple of weeks, it will not get any easier. I will still post books I finish reading over this period.
Let me also take the opportunity to wish you all a happy and safe Christmas, and New Year period. Enjoy this time with family and friends.
I wasn’t going to have a break from posting blog posts over Christmas – New Year, but I have now decided that I will. I’m just too tired not to have a break. So at some point I’m going to go bush, throw up the tent and read some books (modern-style). I could really use the break right now. Still, from time to time I may post something I come across. This will be an extended period, from the time I post this update, through to the middle of January 2018. From that point I’ll get back to more regular posts.
So let me take this opportunity to wish you all a great Christmas and New Year, and enjoy the time with family and friends if you can. – now something for a parting laugh
This is just a short post by way of an announcement – that I am going to take some time off from my Blogs for the next week or so. I expect to be back posting in the usual manner from about the 16th November. There may be the occasional post before that, but nothing too regular. Why? I just need to get a few things done around the house and in my personal life that I can’t put off any longer, and a short break is also good for my well being. So back in a little bit.
I’m currently in the midst of a break from the Blogs at the moment – I’m simply exhausted and need a rest. So, taking a break. Back soon.
It was my intention to return to Blogging today, however, I have had a significant accident at work today involving a ladder, height and a terrific fall – so I am very sore and incapacitated to a degree with some severely injured (typing) fingers (among a host of other injuries, including head injuries). Hopefully I can get back to Blogging sometime this week. Thanks all.
The television premiere of Benjamin Law’s adapted memoirs The Family Law may have had us laughing last night, but a foray into the recent past of the family memoir genre reveals an ethical minefield of sibling conflicts, clashing memories, and unwanted exposés.
In response to biographies scrutinizing his marriage to Sylvia Plath, the poet Ted Hughes said, “I hope each of us owns the facts of his or her own life”. In family memoir such hopes are dashed.
When writers tell the story of their lives they also divulge the experiences of siblings, parents, and lovers. They make the private public, often with a unique spin on events and not always with the consent of those involved.
Given the intimate nature of family life these tangles are perhaps unavoidable. The facts of our lives are always shared.
But life writing still raises important ethical questions. The memoirist’s candid account of family struggles can destigmatise taboo topics – such as divorce, sexuality, and suicide – but at what cost to those whose lives are laid bare? What should come first for a writer, loyalty to the truth of their own experience or respect for the privacy of others?
These questions have troubled a series of high-profile memoirs and autobiographical novels. Writers such as Karl Ove Knausgaard, Hanif Kureishi, Lily Brett, and David Sedaris have upset family members by using personal details in their literary works.
These cases alert us to the difficulty of narrating shared life stories. How do we get to the truth when people remember the past differently and have conflicting investments in how the story is told?
But we might also see the potential social benefit of tell-all family memoirs. By representing the conflicts and silences that families live with writers can introduce more diverse and honest accounts of family life into public culture.
By the time literary sensation Karl Ove Knausgaard published the first volume in his six part autobiographical series, My Struggle (2009), several members of his family were no longer speaking to him.
The Norwegian writer’s aim was to describe the banality and drama of his daily life in raw detail. Critics have hailed the result as Proust for the 21st century. Readers have said they feel as though he has written their innermost secrets onto the page. For Knausgaard’s family this is more than just a feeling. It is their reality.
Knausgaard doesn’t pull any punches. While much of the series is devoted to vivid descriptions of ordinary life, like brewing a cup of tea or going for a run, there are also details that most of us would shudder to have on the record.
Gossipy, post-dinner party conversations that he and his wife have about their guests are recounted verbatim. The rancid excrement that stains his incontinent grandmother’s couch, his father’s descent into squalor and alcoholism, the spoken and unspoken insults of his marital rows, the fumbling sexual encounters of his youth, his second wife’s struggle with bipolar, his feelings of frustration and boredom as a parent: it’s all there on the page.
Not surprisingly, when Knausgaard sent copies of the first manuscript to his family, they were unhappy. His paternal uncle tried to halt publication, threatened to sue, and attacked the book in the Norwegian press. Tonje Aursland, Knausgaard’s ex-wife, recorded a radio program about the experience of having her private life exposed in the novel, and then again in all of the media scrutiny that followed.
Knausgaard admits that the series also took a toll on his current marriage. The relentless attention caused his wife, Linda Boström, to have a breakdown, which Knausgaard details in the final episode of My Struggle.
Knausgaard made a decision to publish a tell-all book. He exposes his own struggles to be a good husband, father, writer, brother, and son with disarming candour, sometimes even to the point of self-humiliation.
But the people who share his life did not make this decision. They didn’t know that their words and actions, sometimes at very vulnerable moments, would be published let alone read by millions of people, almost half a million in Norway alone. In a country of five million, that’s roughly one in ten people who know the intimate details of your private life.
The author is well aware of his indiscretion and what it costs him and his family. “I do feel guilty,” he has said, “I do. Especially about my family, my children. I write about them and I know that this will haunt them as well through their lives”. Knausgaard also understands his father’s family’s response to the novels:
I wish this could have been done without hurting anyone. They say they never want to see or talk to me again. I accept that. I have offended them, humiliated them just by writing about this.
British novelist and screenwriter Hanif Kureishi is less remorseful about using his family as source material. In 2008 his sister published a letter in the Independent titled Keep Me Out of your Novels.
She claims that most of his works use family members as characters. These include his parents in The Buddha of Suburbia (1991), his uncle in My Beautiful Laundrette (1985), his ex-girlfriend in the film Sammy and Rosie Get Laid (1987), and an account of leaving his wife and children for a younger woman in his novel Intimacy (1998).
Yasmin Kureishi is most upset about her brother’s portrayal of her in the 2003 film The Mother. “It made excruciating viewing,” she says, “It was like he’d swallowed some of my life, then spat it back out.”
After reading Intimacy, Tracy Schoffield, Kureishi’s ex-wife, criticised him for thinly veiling the break-up of their marriage as fiction:
He says it’s a novel. But that’s an absolute abdication of responsibility. You may as well call it a fish.
In defence, Kureishi argues that by writing candidly about his life he gives voice to a collective experience:
Why would you vilify me? I’m just the messenger. I’m writing a book about divorce – an experience that many people have had – or separation, children, all that. … That book was a record of that experience.
I don’t see why I should be vilified for writing an account of it. … If you’re an artist your job is to represent the world as you see it – that’s what you do.
The same has been said of Knausgaard’s work. He disregards the privacy of his family. But he also challenges the rules of what we can and cannot say. He drags the darkness of our everyday thoughts into the light. In doing so, he de-shames social taboos, or at least offers the truth of what he thinks rather than what he should think. He sees the role of an artist as that of a social truth-teller.
But the tension around family memoirs brings into question the idea that an artist is simply documenting the truth. In some cases families are not upset that their lives are being represented so much as that the representation is, to them, inaccurate.
That’s not what I remember…
Can the memory of one person capture the true complexity of social events? What happens when people recall things differently? Kureishi’s sister and mother insist that he is not simply a messenger. His descriptions of his roots support the identity he desires in the present. Yasmin Kureishi, for example, recollects a very different image of her father than the one her brother paints in The Buddha of Suburbia.
In the radio documentary Knausgaard’s ex-wife recorded in 2010, Tonje’s Version, she says what annoys her is that her memories will always be secondary to his work of art. People assume they know the truth of what happened in her life because they have read My Struggle.
Doris Brett was so opposed to her sister Lily Brett’s autobiographical renderings of their childhood that she published her own counter-story. Lily Brett has written novels and essays based on her experience of growing up in Melbourne as the daughter of Holocaust survivors.
In Eating the Underworld (2001), Doris claims that her sister wrongly depicts their mother as depressed and sometimes cruel. Doris doesn’t recall her mother screaming in the night. The two sisters seem to remember their mother as two very different women.
When Lily Brett and her father received copies of Eating the Underworld, Lily issued a statement:
There are some things not worth replying to. This book is one of them.
Her father, 85-year-old Max Brett said:
This book by my daughter Doris, is a book of madness. … I recognise very little of our family life in this book.
Doris Brett chalked their public response up as further evidence of the bullying and favouritism she describes in her book.
For Yasmin Kureishi, Tonje Aursland, and Doris Brett the issue is not simply about privacy. They are all willing to tell their own stories in the public eye. Rather they want their life represented accurately, as they remember it. They insist that there is more to the shared story of their family than what is seen through the quixotic eyes of the memoirist. But of course the same question of memory’s unreliability also applies to them.
With tongue in cheek, David Sedaris addresses the blurring of memory and imagination by describing his family memoirs as “realish”. Sedaris has forged a successful career by recounting the foibles of his family life in best-selling collections such as Dress Your Family in Corduroy and Denim (2004).
Along the way, his sister, Tiffany, requested to be left out of his stories. In a 2004 interview with the Boston Globe, she said “I was the only [sibling] who told him not to put me in his books. I don’t trust David to have boundaries”. Like Aursland, she became upset by the consequences of the stories. People read them as fact, and an invitation to discuss her private life.
In 2014, Sedaris came under fire for an essay he published in the New Yorker, Now We Are Five. The essay describes the Sedaris family’s attempt to deal with their grief over Tiffany’s suicide.
A friend of Tiffany, Michael Knoblach, published a letter in the Somerville Journal accusing Sedaris of ignoring her request not to be a subject in his stories and exploiting her death for artistic and monetary gain. (The letter has since been taken down, but a similar version is reposted in the comments here).
Should Sedaris have published Now We Are Five after his sister’s death? Some may argue that he should have respected her request not to be represented in his stories. On the other hand, the story is also about her parents, and her siblings. It speaks candidly about grief, guilt, and the way death jolts us into reality. Even when faced with estrangement and loss, the life of the family remains intertwined.
The Family Law
Australia’s own David Sedaris, Benjamin Law, has written a memoir about growing up in a large Chinese-Australian family in 1990s Queensland. The Family Law (2010) was adapted for television and premiered on SBS yesterday. Law’s memoir offers a funny take on the everyday quirks of family life, but it also deals with sensitive issues such as his parents’ divorce.
The Family Law is unlikely to draw the kind of scandal that greeted Kureishi or Knausgaard. In a recent keynote at the Asia Pacific Auto/Biography Association’s Conference, Law noted that when he gave his family the manuscript to read before publication, they were mostly concerned with correcting his grammar. Law’s father insisted that audiences are smart enough to know the story is told from only one point of view, and with comedic license.
Law may win our hearts with the help of his siblings. They weren’t to know their teenage travails would be re-staged on national television. It might also be strange for his parents to hear the public weighing in on their divorce. But Law’s story will be a welcome addition to a television landscape that currently doesn’t come close to representing the diversity and richness of Australian families.
In her research about family secrets, sociologist Carol Smart talks about two kinds of families: families “we live with” and families “we live by”. Families we live with are our actual families, which may be ridden with tensions. Families we live by are the ideal versions of happy, cohesive families that Smart says we draw from popular culture.
We tell family secrets, Smart thinks, to bring the reality closer to the ideal. We edit certain experiences from the public eye so our family fits with dominant ideas about what a family should be.
In this context, to reveal a family secret might be to refuse pressures to pretend. To disclose conflicts within families can open up a space to talk honestly about family life, to question social norms, and acknowledge different kinds of relationships. It can be a way of bringing the ideal closer to the reality.
Revealing family secrets can be insensitive and ethically dubious when the teller is not the only one who has to live with the repercussions. But it can also be a way to rethink the reasons why we keep certain things secret in the first place.
For family memoirists, where is the line between rattling social proprieties and respecting others’ privacy? This is not an easy question to answer. And the answer would be different in each case.
But it is worth remembering that the true stories that enrich our public sphere are often drawn from the intimate and shared lives of their authors. It is not only Law who gives generously of his life to bring a new story to Australian viewers this week, but also the supporting cast, his family.
Children who fail to read regularly during long breaks from school will often see their reading ability drop. This is termed the “summer slide”.
Socio-economic status can be a factor – if a child’s household has fewer books to read, then they will have fewer authentic reading opportunities.
But those children who keep up their reading over the summer break are likely to see improvements in in their reading abilities, both in terms of what books they read and how often they interact with these texts.
Some methods of keeping kids engaged in reading are more effective than others.
For example, choosing a book that the child will simply enjoy or find entertaining, rather than treating it as a learning exercise, will more likely keep them interested in reading.
Here are some other ways to help your child enjoy reading over the summer break:
Think of books that will interest your child
Novelty books that incorporate fun into reading are a great way to engage younger readers with useful book-handling behaviours.
Books with interactive aspects such as pop-up displays, lift-up flaps and tactile elements are much more likely to immerse children, and sway them from the notion that “reading books is boring”.
Encouraging children to seek out books based on popular film and television programs is also a great way to extend their interests beyond watching the screen.
After reading parts of these books together, you can discuss with your child how the story varies between the visual and print versions and ask them which they prefer.
Use technology to engage and assist
Reading isn’t just limited to print books alone. Encouraging children to read books on electronic devices can be a way to engage otherwise reluctant children with reading.
Not only are these electronic copies often cheaper than hard-copy books, they also provide other useful features, such as reducing the “hard book” feeling for reluctant readers. Many reluctant readers feel anxious about reading thick books with small print. The eBook removes this as a concern as children can adjust the size of the font with ease and the physical size of the book is no longer a concern. Teachers are already embracing these features in their classrooms to provide engaging and useful reading experiences.
Researchers have demonstrated that struggling readers benefit from the additional features that eReaders provide, such as text to speech, where the eReader will electronically read the text out loud to the reader. Functions such as these are very useful in helping to fill in the gaps in childen’s understanding when they are reading an unknown text.
Read with your child every day
Regular reading routines are essential to developing effective reading habits.
Set aside a time every day when you and your child can read together, and another time when you can discuss your favourite parts of the book.
If you are reading with your child and they come to a word that they don’t know or aren’t sure of, remember the following simple rules:
Wait: Give your child a chance to figure out the word on their own. Don’t be the instant word factory and supply the word – help your child to be a resourceful reader by allowing them time to gather more information and clues.
Ask: Does that make sense? Does the picture give you a clue? Could you read on for more information? Asking these questions reminds your child of the different strategies they can use to figure out what the text is saying.
Then: If the child is still stuck on that word, ask them to skip it and read on. You can always drop that word into the conversation as you turn the page. This supplies the unknown word and has the added advantage of not shaming the child for being wrong.
One of the best gifts that you can give your child over the festive season is to spend time with them finding, sharing and exploring exciting books.