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Cancer, I'll Give You One Year: A Non-Informative Guide To Breast Cancer, A Writer's Memoir In Almost Real Time is not about eating kale. The book is 100 percent narrative nonfiction and 0 percent self-help. It was actually written for the author's children in case she died. This sounds morbid, but maybe "pointed" and "candid" are better words. Embracing candor as an aesthetic, this real-time story hits upon the sacred, the profane, a trip to Epcot, a colonoscopy, her kids' responses to everything, and O. J. Simpson's parole hearing. Writing-centric, voice-driven, and conscious of a death…mehr
Cancer, I'll Give You One Year: A Non-Informative Guide To Breast Cancer, A Writer's Memoir In Almost Real Time is not about eating kale. The book is 100 percent narrative nonfiction and 0 percent self-help. It was actually written for the author's children in case she died. This sounds morbid, but maybe "pointed" and "candid" are better words. Embracing candor as an aesthetic, this real-time story hits upon the sacred, the profane, a trip to Epcot, a colonoscopy, her kids' responses to everything, and O. J. Simpson's parole hearing. Writing-centric, voice-driven, and conscious of a death sentence--no diets or exercises are offered, but the author may give horrible parenting advice. It's undoubtedly funny, but also a meditation on meaning.
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Jennifer Spiegel is mostly a fiction writer with three books and a miscellany of short publications, though she also teaches English and creative writing. She is part of Snotty Literati, a book-reviewing gig, with Lara Smith. She lives with her family in Arizona.
Love Slave, with its slightly deceptive title, is a New York novel full of acerbic, witty, and heartbreaking moments--not to mention quite a bit of cultural critique and Gen X woe.
The Freak Chronicles is a short story collection with two kinds of stories. There are Domestic Freaks, and there are Freaks Abroad. Stories are set in the U.S., South Africa, Cuba, China, and Russia.
And So We Die, Having First Slept, a second novel, is about marriage, youth, middle-age, Gen X, and fidelity. Brett is older than Cash by a decade; both are world-weary--one from negotiating brain trauma and rehab and the absence of pretty boys, the other from addiction and road trips and even a Billy Graham crusade. Bath salts and babies work on their ten-year relationship, forcing them to begin again one way or another.
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