After ‘Under the Tuscan Sun,’ Frances Mayes Goes Home — Southern Reading

The first in a series of occasional reviews of books about the American South 

Under Magnolia: A Southern Memoir. By Frances Mayes. Broadway, 352 pp., $15, paperback.

By Janice Harayda

Frances Mayes grew up in the one-mile-square town of Fitzgerald, Georgia, where one woman kept a coffin in her living room and another was a kleptomaniac “whose husband was billed quietly” for items she pilfered. This memoir describes her childhood and her move back to the South after the Italian sojourn that inspired her Under the Tuscan Sun. Mayes deals bluntly with the pre-civil-rights era injustices she observed, such as a tradition at her university that Chi Omegas “didn’t date the Jewish boys.” And if her writing about the food, weather and landscape of the region is overheated — when the sun rises over the ocean, “the wobbling golden orb hoists out of the water” — it is rich in detail. However stifled she felt as a child, Mayes conveys a deep affection for the aspects of the South that she still loves now that she lives in North Carolina — “the mellow southern winter, the humane pace, and the sweet green beauty of the land.”

(c) 2015 Janice Harayda. All rights reserved.

Susan Gubar’s ‘Memoir of a Debulked Woman: Enduring Ovarian Cancer’

Current methods of treating ovarian cancer are “a scandal,” a scholar says

Memoir of a Debulked Woman: Enduring Ovarian Cancer. By Susan Gubar. Norton, 296 pp., $24.95.

By Janice Harayda

Susan Gubar once hoped to die as swiftly as a relative found dead in her seat by ushers at the Metropolitan Opera House after a performance of Aida. She won’t get her wish.

Gubar was 63 years old and looking forward to retiring from an influential teaching career when she learned in late 2008 that she had Stage III epithelial ovarian cancer. Most women her age who develop the disease die within three years of the diagnosis. Doctors nonetheless treat them with draconian procedures that include “debulking” surgery, which reduces the size of tumors that can’t be removed completely. Such efforts, Gubar came to believe, may “destroy the pleasures of existence” for someone who gains few or no benefits from them.

Is the misery worth it? Gubar often sounds ambivalent as she describes the catastrophes that occurred during and after her debulking. Her calamities began with a bowel perforation during her operation. That mishap led to an ileostomy and to surgical drain irrigations that, she says, “exceeded any level of suffering I thought imaginable” and that morphine couldn’t touch. Afterward she kept “getting sucked into procedure after procedure, each with its ghastly physical repercussions.”

Gubar explains her repeated acquiescence partly by saying that she had two grown daughters who weren’t ready to lose her and that her treatments fostered a helplessness born of pain, fatigue, depression, and sedation. But you sense that there is more to it than that. Gubar calls herself a secular Jew “with no conventional religious faith to speak of.” Did she unwittingly turn medicine into her God? Did her lack of belief in an afterlife make it harder to let go of barbarous treatments? She asks but never satisfactorily answers the question: “how can those of us without firm religious convictions integrate the awareness and actuality of death and dying into our lives?” On the subject of faith, she offers what she acknowledges are “garbled” views such as: “I will love my family until death departs, and since death will never depart, I will love them always and forever.” What on Earth does “until death departs” mean?

In Memoir of a Debulked Woman Gubar interweaves her story with an overview of ovarian cancer in history and literature and with a polemic against the woeful state of treatments for it.  This approach gives her book a breadth lacking in most illness narratives while depriving it of the sharp focus of cancer memoirs such as Joyce Wadler’s My Breast and Anatole Broyard’s Intoxicated by My Illness. Much of the writing is stilted, repetitive, and padded with irrelevant anecdotes about Gubar’s family and friends. It would have benefited from a few pages on how doctors in other industrialized countries treat ovarian cancer.

But what Memoir of a Debulked Woman lacks lacks finesse, it makes up for in importance. No first-person account offers a more comprehensive description of the dismal options for women with late-stage ovarian cancer or makes a more passionate case that the current methods of treating it are “a scandal.” And in an age of medical overkill, those women share many of the dilemmas of patients who have other cancers with low three-year survival rates and who must decide whether to have potentially soul-destroying treatments. This gives the book a relevance that goes beyond the disease at its center.

Gubar’s cancer is in remission, an article in USA Today said last month, so her treatments seem to have extended her life at least slightly beyond what she could have expected. But her memoir makes clear that the precious extra months have come at a price that not everyone would want to pay. Gubar says that, when she’s feeling cynical, she believes that fifty years from now “doctors will look back at the treatment of ovarian cancer today and judge it medieval.” Her book should hasten that process.

Best line: No. 1: “the state of contemporary approaches to ovarian cancer is a scandal.” No. 2: Gubar offers a good list of “the cockamamie conundrums confronted by people treated for ovarian cancer” (although “cockamamie” is too light-hearted a word for some of them). Among them: Debulking surgery calls for surgeons to remove, while a patient is under general anesthesia, any organs to which the ovarian cancer has spread. So women don’t know beforehand which body parts they will lose and can’t “decide that they would prefer not to … risk the high rate of postoperative complication.”

Worst line: No. 1: Gubar criticizes Joan Acocella (who called her an “amateur” who spouts “shocking nonsense” in The New Yorker) in a way that makes her look worse than Acocella. No. 2: One of many padded sentences: “The radiologist inserted the thick tube into the center of my right buttock: in the Midwest, ‘the butt’; in New York, ‘the tush’; in the South, ‘the bottom’; in fancy French, ‘the derrière’; in pseudo-science, ‘the gluteus maximus’; on the street, ‘the ass’; in Don’s jokey repetition of the nurse’s word, ‘the bee-hind.'”

Caveat lector: Gubar warns: “For those who have reason to believe or need to believe that their cancer is curable, please remember that this book is not about you.”

Published: April 2012

About the author: Gubar is the co-author of The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination, a finalist for the 1980 Pulitzer Prize for nonfiction.

Read an excerpt from Memoir of a Debulked Woman.

You can follow Jan (@janiceharayda) on Twitter by clicking on the “Follow” button in the right sidebar.

© 2012 Janice Harayda. All rights reserved.
www.janiceharayda.co

What I’m Reading … Susan Gubar’s ‘Memoir of a Debulked Woman: Enduring Ovarian Cancer’

“What I’m Reading” is a series about books I’m reading that I may or may not review later

What I’m reading: Memoir of a Debulked Woman: Enduring Ovarian Cancer (Norton, 296 pp., $24.95), by Susan Gubar.

What it is: A feminist scholar’s memoir of the medical “calamities” she endured after undergoing the standard medical treatment for advanced ovarian cancer, known as debulking surgery.

Why I’m reading it: Few authors have written in depth about having advanced ovarian cancer, partly because few women survive the disease long enough to do it.

Quote from the book: “the state of contemporary approaches to ovarian cancer is a scandal.”

Probability that I will review the book: 100%

Publication date: April 2012

Read an excerpt from Memoir of a Debulked Woman or learn more about the book.

About the author: Gubar co-write The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination, a book widely used in college classes.

You can follow Jan (@janiceharayda) on Twitter by clicking on the “Follow” button in the right sidebar.

© 2012 Janice Harayda
www.janiceharayda.com

What I’m Reading … ‘The Adventures of Cancer Bitch,’ a Memoir

“What I’m Reading” is a series about books I’m reading that I may or may not review later

What I’m reading: The Adventures of Cancer Bitch (University of Iowa Press, 160 pp., $25), by S.L. Wisenberg

What it is: A feminist breast-cancer diary that grew out of Wisenberg’s blog, Cancer Bitch.

Why I’m reading it: Sandi Wisenberg deals briefly with the Susan G. Komen breast-cancer research foundation, which recently outraged feminists and others by revoking its funding for Planned Parenthood, a decision it reversed.

Quote from the book: “My accountant asked if cancer changed me. I suppose, slightly. I know more about cancer.”

Publication date: March 2009

Read an excerpt from The Adventures of Cancer Bitch: Some material in the memoir appeared in different form on the Cancer Bitch blog, including part of this post about Wisenberg’s bone pain after a Taxol infusion.

Furthermore: Wisenberg co-directs the M.A./M.F.A in Creative Writing program at Northwestern University .

You can follow Jan on Twitter by clicking on the “Follow” button in the right sidebar.

© 2012 Janice Harayda
www.janiceharayda.com

James Lord’s ‘A Giacometti Portrait’ — Sitting for a Master

A timeless memoir of watching an artist at work in Paris in the 1960s

A Giacometti Portrait. By James Lord. Farrar, Straus & Giroux, 117 pp., $15, paperback.

By Janice Harayda

In 1964 James Lord sat for a portrait by his friend Alberto Giacometti, who had won the grand prize for sculpture at the Venice Biennale two years earlier. Lord — a young, handsome, American writer — took notes and drew on them for an elegant memoir that has retained its appeal for nearly half a century.

A Giacometti Portrait gives a vibrant account of the work habits of a man who lit cigarettes as he painted (holding them in his left hand, which also held his palette and brushes) and seemed unaffected by the whorls of smoke that wreathed his head. The book is also a perceptive study of an artist who believed he could never reproduce on canvas what he saw but who had a compulsion to try that caused him continual anxiety.

At times it was exhausting take part in “an effort that acknowledged in advance its own futility but which at the same time insisted that nothing was more valid than to make that effort anyway,” Lord says. One day Giacometti lamented that the portrait was going badly: “It’s the revenge of the brush on the painter who doesn’t know how to use it.” Later that day, he seemed to change his mind. The painting gave him an “opening” to make progress: “This is the first time in my life I’ve had such an opening.”

For all the ups and downs, Lord enjoyed the 18 days that Giacometti spent on his portrait and had the foresight to take photographs of the picture different stages, a dozen of which appear in his book. He doesn’t speculate on whether his friend’s hairpin mood turns might betoken more than the usual artistic insecurities, perhaps a low-grade mania, and his restraint has helped to keep his work from becoming dated: It lacks the therapeutic cant that of recent memoirs. Apart from its insights into the creative processes of a modern master, A Giacometti Portrait has striking glimpses of the artist’s relations with his wife, his dealers, his admirers, and his brother Diego, and others who moved in and out of his Paris studio.

In an optimistic moment, Giacometti suggests to Lord that his portrait may lead to an artistic breakthrough: “You see, you’ve done me a tremendous favor.” No evidence suggests that the work was a watershed for an artist better known for his attenuated sculptures that suggest the weariness of Europe after World War II. But Lord did Giacometti another kind of favor with this memoir. In an afterword, he expresses the hope that people will see in his book a small part of what made the artist remarkable and adds, rightly, “To see even so little will be to see very much.”

Best line: Giacometti explains why he believes Cycladic heads are “more alive and convincing” than Roman busts: “To make a head really lifelike is impossible, and the more you struggle to make it lifelike the less like life it becomes. But since a work of art is an illusion anyway, if you heighten the illusory quality, then you come closer to the effect of life.”

Worst line: None.

Published: 1965 (Doubleday hardcover edition), 1980 (Farrar, Straus & Giroux paperback). This review is based on the 1965 book.

You may also want to read: Man With a Blue Scarf, the English art critic Martin Gayford’s 2010 account of sitting for a portrait by Lucian Freud. A Giacometti Portrait is perhaps more revealing because Lord and Giacometti were closer than Gayford and Freud are, but the books are of similarly high quality.

You can also follow Jan Harayda (@janiceharayda) on Twitter at www.twitter.com/janiceharayda.

© 2010 Janice Harayda. All rights reserved.
www.janiceharayda.com

‘Man With a Blue Scarf: On Sitting for a Portrait by Lucian Freud’ — Art Critic Martin Gayford Sees Himself on Canvas

A British critic’s diary having his portrait painted

Man With a Blue Scarf: On Sitting for a Portrait by Lucian Freud. By Martin Gayford. With 64 illustrations. Thames & Hudson, 256 pp., $40.

By Janice Harayda

Edgar Degas once lamented the injustice of having his paintings judged by art critics who had never earned their living with a brush and palette. “What a fate!” he said. “To be handed over to writers!”

Fewer painters might complain if they had interpreters as intelligent and forbearing as the British art critic Martin Gayford. Between November 2003 and April 2005, Gayford spent about 250 hours posing for an oil painting and an etching by Lucian Freud, whose ego appears to rival the late Norman Mailer’s. The experience fell “somewhere between transcendental meditation and a visit to the barber’s,” at least if your barber knew Garbo and Picasso and after trimming your sideburns, wanted to have champagne and caviar with you at a high-toned London bistro.

Gayford appears to have relished the sittings even as they became an endurance test. Freud sat him in front of a black screen for the Man With a Blue Scarf and made him keep posing after the head was finished and only the space around it remained to be filled it.  He told Gayford: “The picture is absolutely about what your head is doing to that screen.” Freud drove himself as he did his sitter. In his early 80s, he was still painting standing up, working 10 hours a day, on five or six portraits at a time.

As the months wore on, Gayford kept the tedium at bay in part by drawing Freud into conversations on painting and other subjects. Should a picture resemble the sitter? “Likeness in a way isn’t the point, because whether or not a painting is a good likeness has nothing to do with its quality as a picture,” Freud replied. “For example, Rembrandt’s people all look alike in that they all have spiritual grandeur. You feel he did not steer very close to the actual appearance of the sitters.” If strict verisimilitude doesn’t matter, what does? Gayford quotes a comment Freud made decades earlier: “the picture, in order to move us, must never merely remind us of life, but must acquire life, a life of its own, precisely in order to reflect life.”

Man With a Blue Scarf takes the form of a graceful diary that says as much about being painted as about the painter. Gayford knew that a sense of mortality pervades Freud’s work: “Even images of the young and healthy are full of a sense of the soft vulnerability of flesh, its potential to sag and wither.” And his sittings might have turned in to a Dorian Gray tale, the story of a man horrified to see his sins emerge in his portrait. He needn’t have worried. Gayford liked the painting and sees in it the intensity of his interest in the process: “It’s me looking at him looking at me.”

Gayford shows a Boswellian refusal to troll for flaws in his subject’s work or character, and his book tends to reinforce Robert Hughes’s argument that Freud is the greatest living realist painter. But Man With a Blue Scarf, if flattering, isn’t hagiography. Gayford holds his fire elegantly, and his ability to do so appears heroic, not sycophantic, given that if he had not, we would clearly not have the first book-length account of sitting for a major artist since James Lord’s A Giacometti Portrait in 1965. Art history would be richer if every great painter did a portrait of a critic who wrote about the experience.

Many questions linger about the making of this memoir. To what degree is the book authorized? Did Freud see the manuscript and request changes? How did Gayford reconstruct conversations that took place when he couldn’t have been holding a notebook? Whether or not the answers ever emerge, Man With a Blue Scarf is a fascinating study in the “remorselessly intimate” process of being painted. During the sittings, Gayford spent more time with Freud than with anyone except his wife and children. “I’m not sure whether it is filling a hole in my life,” he admits, “but it is enthralling.” For all the cabin fever that the sittings must have involved, Gayford makes you see why the process was thrilling.

Best line: No. 1: “It is an aspect of good pictures that it is impossible to memorize them. No matter how well you know them, they always seem different when you see them again …” No. 2: “The paradox of portraiture, especially this marathon variety, is that the target is always a moving one. Physiologically, and psychologically, a living being is always in a state of flux. Moods shift, energy levels go up and down, the body itself slowly ages.”

Worst line: Freud says Picasso was “no more than 5’ or 5’ 1’” and that much of his attitude toward life was affected by his being small. But Picasso’s height is often given as 5’4”, and Gayford doesn’t explain why he quotes a different figure. You don’t know whether he agrees with Freud or doesn’t want to correct him.

Caveat lector: The review was based on an advance reader’s copy. Some material in the finished book may differ.

Published: October 2010

About the author: Gayford, the art critic for Bloomberg News in Europe, was the art critic for the Spectator and Sunday Telegraph. He talks about posing for Freud in an Acoustiguide recording used with a Museum of Modern Art exhibition of Man With a Blue Scarf and the etching made soon afterward, Portrait Head.

Furthermore: Lucian Freud is the grandson of Sigmund Freud. Robert Hughes wrote the text for Lucian Freud: Paintings which provides useful background for Man With a Blue Scarf.

Janice Harayda is a novelist who has been the book editor of the Plain Dealer in Cleveland and the book columnist for Glamour. You can also follow Jan (@janiceharayda) on Twitter at www.twitter.com/janiceharayda.

© 2010 Janice Harayda. All rights reserved.
www.janiceharayda.com

Funeral of a Small-Town Doctor / From the Memoir ‘The Good Times Are All Gone Now: Life, Death, and Rebirth in an Idaho Mining Town’

Julie Whitesel Weston grew up in Kellogg, Idaho, in the 1940s and 1950s, when it was “a wide-open, Wild West town” with brothels and gambling dens that attracted men who worked for the Bunker Hill silver mine. Her father, a doctor, examined the prostitutes twice a month for venereal diseases. He also made middle-of-the-night house calls and received venison and elk steaks from patients, whom he asked, “How’s your body?” After setting up his practice, Glen Whitesel stayed in Kellogg until he died in 1978, and sometimes played the snare drum for Tommy’s Trio at the Sunshine Inn.

Julie Whitesel recalls her childhood in her recent memoir The Good Times Are All Gone Now: Life, Death, and Rebirth in an Idaho Mining Town (University of Oklahoma Press, 2009). In this excerpt, she describes her father’s funeral, attended by friends such as real-estate developer Jim Bening and attorney Bob Robson.

“An honor guard of nurses, each dressed in white starched cap, dress, and stockings, stood like wings on either side of the elaborate coffin at the front of the church. His doctor partners served as pallbearers, along with Jim Bening and Bob Robson, and an extra six of friends, a double ring of hands. Townspeople – miners, wives, businessmen and women, gambling and drinking buddies, Tommy’s Trio, my friends, their parents, teachers, coaches, patients, not-patients — filled the church, spilled out into the parking lot, sang hymns, shed tears. The Episcopal priest, Father McReynolds, who had been one of my father’s gin rummy partners and was shaking with Parkinson’s disease, eulogized him.

“‘How’s your body?’ he began. A low wave of laughter filled the church. ‘No one who knew Doc Whitesel would ever say he was without failings. But I like to think he earned a place in heaven in spite of those failings, common to us all, in one form or another. Glen was our doctor, our friend, and an irreplaceable man in Kellogg, Idaho.’ He faced the casket and added, ‘See you later, alligator.’”

You can learn more about The Good Times Are All Gone Now on the sites for the author and for University of Oklahoma Press.

You can also follow Jan Harayda on Twitter at twitter.com/janiceharayda.

© 2010 Janice Harayda. All rights reserved.
www.janiceharayda.com

On Not Making Coffee – Quote of the Day / From ‘News to Me: Adventures of an Accidental Journalist’

Laurie Hertzel began her 18-year career at the Duluth News Tribune in 1976, the year Barbara Walters became the first female co-anchor of a network newscast. But such milestones had yet to open many doors for women at the Minnesota newspaper. Male reporters still wrote most of the stories, and the chief photographer was a man who had spent time in a German prison in World War II and made his way to America with his life savings hidden in an accordion.

Hertzel recalls her experiences at the News Tribune in News to Me: Adventures of an Accidental Journalist, a lively new memoir from the University of Minnesota Press. In this excerpt she tells what happened after she learned that she was supposed to make coffee for her male colleagues:

“I might have been timid, but I had a strong sense of fairness. I didn’t drink coffee, so I saw no good reason why it should be my responsibility. Also, it was logistically complicated. The only place with a sink deep enough to hold the coffee urn was the men’s bathroom. There was a women’s restroom on our floor, but it was a tiny, one-hole affair with a shallow sink, located directly across from the sports department. This meant that every time one of the seven women on the floor had to pee, the sportswriters didn’t just know it, they could hear it. It was a humiliating bathroom for a shy person, and it was of absolutely no use in making coffee.

“To make coffee I had to lug the urn down the hall, pound on the door, yell, ‘Is anybody in there?’ and then go in and fill it up at the big, deep sink, hoping that no guy came in needing to take a whiz, and then stagger with it back down the hall, water sloshing my ankles. This was not something I was inclined to do, so I set about scheming to get out of this responsibility. First, I started bugging guys when they were at their busiest. ‘Can you fill the coffee pot for me? There’s someone in the bathroom.’ They didn’t care to be interrupted when they were on deadline, and they didn’t want to be away from their phones when they were waiting for a call back from a source, so this drove them a little nuts. And then I made coffee … badly. Undrinkably so. In a newsroom, that’s saying a lot. …

“So it wasn’t too long before the responsibility just sort of evaporated, and I could concentrate on the fun stuff … ”

Hertzel, who is books editor of the Minneapolis Star-Tribune, tells more about News to Me on her Web site. You can follow her on Twitter at www.twitter.com/StribBooks and read more excerpts from her memoir on the University of Minnesota Press blog.

Ayaan Hirsi Ali on ‘Designer Tribalism’ / Quote of the Day From ‘Nomad’

Ayaan Hirsi Ali condemns honor killings and other crimes against women in her new Nomad: From Islam to America: A Personal Journey Through the Clash of Civilizations (Free Press, 304 pp., $27), a sequel to her bestselling Infidel. She also argues that a blinkered multiculturalism can help to legitimize to misogyny.

In this quote from Nomad, the Somali-born activist responds to idea that immigrants benefit from maintaining the cohesion of their old culture:

“The idea that immigrants need to maintain group cohesion promotes the perception of them as victim groups requiring special accommodation, an industry of special facilities and assistance. If people should conform to their ancestral culture, it therefore follows that they should also be helped to maintain it, with their own schools, their own government-subsidized community groups, and even their own system of legal arbitration. This is the kind of romantic primitivism that the Australian anthropologist Roger Sandall calls ‘designer tribalism.’ NonWestern cultures are automatically assumed to live in harmony with animals and plants according to the deeper dictates of humanity and to practice an elemental spirituality.

“Here is something I have learned the hard way, but which a lot of well-meaning people in the West have a hard time accepting: All human beings are equal, but all cultures and religions are not. A culture that celebrates femininity and considers women to be the masters of their own lives is better than a culture that mutilates girls’ genitals and confines them behind walls and flogs or stones them for falling in love. … It is part of Muslim culture to oppress women and part of all tribal cultures to institutionalize patronage, nepotism, and corruption. The culture of the Western Enlightenment is better.”

Ayaan Hirsi Ali Faults Islam and Multiculturalists in ‘Nomad’

The author of Infidel returns with an inflammatory polemic

Nomad: From Islam to America: A Personal Journey Through the Clash of Civilizations. Free Press, 304 pp., $27.

By Janice Harayda

At the age of five, the Somali-born Ayaan Hirsi Ali was circumcised with scissors by a man hired by her grandmother. She later fled to Holland to escape a forced marriage and collaborated on a Dutch film about the oppression of Muslim women, which led to death threats and another move – this time, to America.

Hirsi Ali described these and other upheavals in Infidel, a harrowing account of her efforts to forge an independent life after rejecting Islam and the violent culture of her family’s tribe. Nomad is a much less effective book, and not just because it repeats in different form many of the ideas and incidents in that memoir.

In this inflammatory polemic Hirsi Ali argues that Islam is not just a religion but “a violent way of life,” and she condemns its “increasingly dangerous impacts” — a stilted phrase typical of the writing in Nomad — on Western societies. She believes that Muslim immigrants must be required to assimilate, a process that includes respecting the laws of their adopted countries instead of demanding that their crimes be tried in sharia courts. As she describes her conversion from Islam to atheism, she calls for “a massive public effort to reveal, ridicule, revile, and replace” traditional Islamic views, especially those that cast women as property.

To support her arguments, Hirsi Ali draws heavily on the brutality suffered by her family in passages that are among the most vivid in Nomad. She also makes a strong case that honor killings and other crimes against Muslim women exist in the U.S. as well as abroad but that the media play down their religious basis for fear of offending the faithful.

On other subjects, Hirsi Ali oversimplifies or underdocuments her points or extrapolates too freely from her own life. She faults multiculturalists who seek to enable Muslims to preserve their old culture in their adopted countries: “Social workers in the West will tell you that immigrants need to maintain group cohesion for their mental health, because otherwise they will be confused and their self-esteem destroyed. This is untrue.” But there are degrees of “cohesion” and “self-esteem,” and immigrants may suffer as much from cutting all ties to their culture as from cutting none. This kind of either-or logic pervades the book.

Since the publication of Infidel, Hirsi Ali has also become more closely linked to the American Enterprise Institute, the conservative think tank that employs her. Some of her causes demand support from liberals and conservatives alike, including her call for an end to honor killings.

But it is unfortunate that after spending much of Nomad arguing that violence against Muslim women should concern everyone, Hirsi Ali faults feminists for not doing more to end it when, in fact, well-known feminists such as Gloria Steinem may have done more than any other group to publicize the problem. Her nearsightedness on this and other issues may alienate many people who share her outrage about honor killings and related crimes.  Infidel – which keeps a tighter focus on her story – makes a better introduction to her work.

Best line: Hirsi Ali says that when she and her family lived in Saudi Arabia, her father and brother often went to a “tribunal of justice” at a spot known as Chop-Chop Square: “There men and boys would take their seats and watch the sinners being punished with stonings, floggings, amputations, or beheadings.”

Worst line: “In fact a certain kind of feminism has worsened things for the female victims of misogyny perpetrated by men of color. My colleague at the American Enterprise Institute, Christina Hoff-Sommers, calls this ‘the feminism of resentment.’”

Caveat lector: This review was based on an advance reader’s copy. Some material in the finished book may differ.

You may also want to read: One-Minute Book Reviews also posted a review  of Infidel and a reading group guide to Infidel.

You can also follow Jan Harayda (@janiceharayda) on Twitter.

© 2010 Janice Harayda. All rights reserved.
www.janiceharayda.com