icon caret-left icon caret-right instagram pinterest linkedin facebook twitter goodreads question-circle facebook circle twitter circle linkedin circle instagram circle goodreads circle pinterest circle

Notes from a Crusty Seeker

Mother Daughter Me

What Eat Pray Love did for educated women with unhappy love lives who plunge into spiritual abysses, journalist Katie Hafner’s memoir Mother Daughter Me does for rootless educated women with abysmal, possibly alcoholic, mothers. As adults, these women—these daughters of abysmal mothers—can be sandwiched between being mothers themselves and repairing the damage wrought by formerly nightmarish mothers whom they now want to care for.

In a riveting therapy session in a chapter called “Dam Break,” after Katie’s mother tells the therapist a simplistic version of how she lost custody of her children, Katie finally bursts:

When we were first taken away from her . . . it was a full two years before she officially lost custody . . . How could she have allowed precious years with her children to slip straight through her memory bank? . . . Resting my gaze on my lap, I start to tell the entire story . . . The entire time I’m talking, I am thinking that I don’t want my words to hurt her, that I want to protect my mother, to let her know it wasn’t her fault. At the same time, there’s no stopping me, because another part of me wants her to hear every word of this. To make her understand.


When Katie finishes her corrected version of the story, she looks at her mother.

Her face is a terrible crumple, her mouth forming the small breathless “O” people sometimes wear when hit with bad news.

“Katie,” she says. “I am so sorry.”

And with that she is telling me something else: She doesn’t remember.

 Read More 

Be the first to comment

If a Heart Breaks and Almost Nobody Hears It . . .

If a musician composes music that he never sells, because he prefers “not to sell his baskets,” but instead he becomes an insurance salesman, resulting in nobody in his lifetime ever hearing his brilliance, can he still feel fulfilled and successful?

If actors perform a brilliant play about the essence of life, if they give their all, if the production is incontestably a work of great art, but only ten people come to see it, is it still worth doing?

If lungs breathe, if bodies throb, if a heart breaks, and there are only ten witnesses, does it even matter?

These are some of the questions playing ping pong in my cranium this morning after yesterday’s remarkable experience watching playwright Jessica Dickey’s remarkable 75-minute masterpiece Charles Ives Take Me Home. Oh, how I want to insert a comma after Ives, but I’ll respect her work. How could I not? This tour de force about a father and daughter, about music and basketball, about life and death and everything in between demands respect.  Read More 

Be the first to comment