New life, no instructions A memoir

Gail Caldwell, 1951-

Large print - 2014

Within the pages of this outstanding memoir, Gail Caldwell explores topics such as what to do when your personal story changes midlife, how change starts and stays, how we are connected to our loved ones, and finally a discussion on hope.

Saved in:

1st floor Show me where

LARGE PRINT/BIOGRAPHY/Caldwell, Gail
1 / 1 copies available
Location Call Number   Status
1st floor LARGE PRINT/BIOGRAPHY/Caldwell, Gail Checked In
Subjects
Published
Thorndike, Maine : Center Point Large Print 2014.
Language
English
Main Author
Gail Caldwell, 1951- (-)
Edition
Center Point Large Print edition
Physical Description
189 pages (large print) ; 23 cm
ISBN
9781628990959
Contents unavailable.
Review by New York Times Review

ON THE CUSP of turning 50, the artist Tracey Emin told the BBC: "I always thought that love was about desire, being with someone, holding someone, feeling someone. But it isn't necessarily. Love can be different and come in lots of different ways and lots of different guises." Her interviewer was suitably intrigued. England's notorious "bad girl" no longer cared about shagging. In her youth, Gail Caldwell was an enfant terrible of a different sort - a hard-drinking bookworm from the Texas Panhandle with the bravura of a rodeo queen. She rode her unbridled audacity halfway across the country in pursuit of the writing life, then tamed it; after getting sober in her early 30s, she went on to become chief book critic for The Boston Globe. Along the way, a colleague of many years admitted to having mistaken her lifelong limp for a swagger. At 50, she won the 2001 Pulitzer Prize for criticism. In the years since, she's suffered more than her share of losses, and become a serial memoirist. "New Life, No Instructions," her third, picks up where the second - about her extraordinary midlife friendship with Caroline Knapp, who died in 2002 - left off, exploring love's different and above all unpredictable guises, from canine to fraternal. That this new memoir was occasioned by a hip replacement, of all things, is a testament to her audacity. That the subplot revolves around getting a new dog did not improve matters for this reader (I am not a dog person). That neither hurdle proved a barrier to entry confirms that, as far as I'm concerned, Caldwell can write about whatever she pleases; it's a rare writer who can transform a commonplace surgery into a launching pad for life's big questions. "What do you do when the story changes in midlife?" she asks. "When a tale you have told yourself turns out to be a little untrue, just enough to throw the world off-kilter?" That swaggering limp was the result of the polio she contracted as an infant in 1951, before the vaccines. Ever since, her right leg had been 1.5 inches shorter than the left, a discrepancy she didn't bother herself with until a standard X-ray revealed her hip to be "a junkyard of bone." Coming on the heels of acquiring a new Samoyed, the training of which is a physical ordeal in itself, news of invasive surgery is particularly unwelcome, not to mention that at 60 she's still unmarried, standing alone on the bridge to old age. And so it is this - her status as a never-married woman in her seventh decade, a growing demographic we still know so little about - that makes the book not only a pleasure to read, brimming with insights and wisdom, but valuable as well. Her crisis forces the discovery that the "concentric circles of intimacy" she had been living within are actually "a force field of connection," in which those so-called lesser bonds - "neighbors and dog people and rowers and writers and A.A. people and women from the gym" - prove as durable as family. That she's made her home in the villagelike city of Cambridge, Mass., where she's on a first-name basis with half the people on her block, has something to do with it. So does solitude itself, which "makes you stretch your heart - the usual buffers of spouse and children are missing, so you reach toward the next circle of intimacy." That is, if you're so inclined. Because just as important as Caldwell's recognition of her unconventional support system is her modeling of what it takes to be a person who earns such care and solicitation. It's not by luck she's so well loved; it's the generosity and thoughtfulness she brings to her interactions, no matter how insignificant. When she leaves for surgery at dawn on Halloween, she puts baskets of peanut butter cups on the front porch for the trick-or-treaters. The scholar Leigh Gilmore has written that the "serial autobiographer returns to the scene because she has left a body there which requires further attention." If we're lucky, Caldwell will continue on like that other never-married writer, Diana Athill, who published her first memoir at 44, and her seventh at 93. Unabashed dispatches from lifelong single women are a fairly recent phenomenon. Caldwell has so much more to teach us. At 60 she was still unmarried, standing alone on the bridge to old age. KATE BOLICK'S first book, a personal exploration of single women in America, will be published next year.

Copyright (c) The New York Times Company [June 15, 2014]
Review by Booklist Review

Getting old, as they say, is not for sissies, and no one would call Pulitzer Prize winner Caldwell (Let's Take the Long Way Home, 2010) a wimp. Yet time and loss were taking their toll as she suffered the deaths of her mother and her two best friends, one human (the writer Caroline Knapp) and one canine (her beloved Samoyed, Clementine). As Caldwell moved forward, she adopted a new puppy and immediately began to doubt the wisdom of this decision. The polio that had plagued her since childhood and left her with a perceptible limp was becoming increasingly painful, making life with an endlessly energetic and preternaturally strong dog difficult. When it was finally determined that Caldwell required a total hip replacement, the diagnosis was both a relief and a challenge for a middle-aged, single woman. There may not have been a road map for the life-changing trip Caldwell was about to take, but, as this memoir makes clear, given her indefatigable sense of commitment and community, at the very least Caldwell realized she had the power to endure.--Haggas, Carol Copyright 2014 Booklist

From Booklist, Copyright (c) American Library Association. Used with permission.
Review by Publisher's Weekly Review

Caldwell, a Cambridge, Mass.,-based author of two stalwart memoirs, most recently about the untimely death of her best friend Caroline Knapp (Let's Take the Long Way Home), again confronts, with pluck and fortitude, the hurdles that life throws her way-in this case, hip surgery while tending to a new pet Samoyed. Caldwell, we know from her previous work, adores dogs, specifically big dogs, and after the death of her beloved Clementine, in 2008, she tracked down a Samoyed breeder she had her eye on for years and procured a new puppy, Tula. However, at age 57 and with a "bum leg," the product of being stricken with polio as a six-month-old child growing up in West Texas in 1951, Caldwell wondered at the wisdom of getting a very muscular, high-octane dog when her leg strength seemed to be diminishing alarmingly. Indeed, after her limp got worse, after falling and increasing pain she could no longer ignore, she finally got an X-ray, and the severe degenerative arthritis that had been gnawing away at her right hip was clearly revealed. Hip surgery in 2011 proved a regular miracle for a condition like hers, despite the arduous six-month rehabilitative process. Yet poor Tula gets back-seated in this crisp, straightforward work, and while the author finds her solid footing, her narrative lacks the emotional centering of her last work. (Apr.) (c) Copyright PWxyz, LLC. All rights reserved.

(c) Copyright PWxyz, LLC. All rights reserved

9781400069545|excerpt Caldwell / NEW LIFE, NO INSTRUCTIONS 1. Cambridge 2011 My first tip-off that the world had shifted was that the dogs looked lower to the ground. I dismissed the perception as a visual misread: Because I was on crutches and couldn't bend down to touch them, of course they would seem farther away. Then a friend came to visit, a striking woman whom I'd always considered tall. She was standing across the living room and I was smiling, happy to have her there, and I thought, Tink is small! And I never realized it before. The fact is that Tink is about my size, but until that day I had looked up to her in more ways than one. I was just home from five days at New England Baptist Hospital, where the chief of joint reconstruction had built me a new hip and lengthened my right leg by five-eighths of an inch. The measurement sounds deceptively slight, but then pi, unexplained, doesn't mean much, either. What the extended hip bought me was about two inches of additional height, because I was no longer bending forward in pain. It gave my leg something immeasurable: an ability to reach the ground, and the chance and anatomical equipment to walk right for the first time in my life. Almost as dramatic, at least in the beginning, was the re- orientation of my physical self in space. My perspective had been jolted to the point that trees and cars and other markers of street life felt closer to me, within reach in a way they hadn't before. I could sense the effort involved in making these neural adjustments: In a simple movement like a step forward, particularly outside, there would be a lurch of visual confusion, then acceptance. It happened quickly and brilliantly, and my comprehending it changed everything: What had seemed to be mere dizziness was in fact the brain's ballet. These were transient phenomena, the brain being a nimble choreographer of time and space. Within a few weeks I would be accustomed to the additional height and leg length; our bodies, perfect feats of design, respond to what is in front of them, usually without even bothering to let us know. But the dance I found myself doing with the physical world in the first few days and weeks after surgery signaled something larger, more long-lasting, that I would have to learn and relearn in the following year: the notion that life has an agency, some will and forward motion, greater than one's own wish or intention. Dylan Thomas called it the force that through the green fuse drives the flower. The idea that the whole blessed shebang doesn't have to be a free fall after all. I caught polio when I was six months old, in 1951, during one of the last years of the U.S. epidemic, before the vaccines. The virus, which destroys neurons, can lead to full or partial permanent paralysis; it affected the muscles in my right leg, and I didn't walk until I was past the age of two. Still, the mark on my family's door was relatively faint: no March of Dimes crutches or iron lung, just a faltering leg that often went unnoticed. The fact of the disease--important but hardly central--had long been incorporated into my shorthand self-description: writer, grew up in Texas, slight limp from polio. Part of the story I'd told myself all my life was that polio had made me a fighter--that I was hell-bent on being strong because of it--and that much was still true. But in the past few years, within the joys and demands of raising a young dog, I had begun to experience pain and lameness I'd never known before. The mystery of this decline cast a shroud of defeat over what I feared lay ahead. It seemed that the aftereffects of the disease had reemerged, ghostly and conniving, like a stalker who'd never left town. And then: A standard X-ray, ordered probably fifteen years after it was called for, revealed that the scaffolding of my hip was a junkyard of bone. However compromised my leg had been by polio, muscles can't work without a structure to hold them up. That I had been walking around at all, I was told, was astounding--and a lot of my recent decline could be addressed by one of the most common surgeries in modern medicine. The rest--the retraining and possible strengthening of a rebuilt leg--would be up to me. What do you do when the story changes in midlife? When a tale you have told yourself turns out to be a little untrue, just enough to throw the world off-kilter? It's like leaving the train at the wrong stop: You are still you, but in a new place, there by accident or grace, and you will need your wits about you to proceed. The revelation that there was a medical solution before me--a high-tech fix to pain and infirmity that by now seemed endemic and existential--shifted the angle of my vision in some essential way. It opened up the future and tinted the past, in the way that the unexpected can always disarm the reach of yesterday. Despite the mind-over-matter stoicism of Western thought, the mind cannot grasp the concept of wellness until the body announces it. The idea that I would somehow and someday be able to walk better--to walk without pain or urgent concentration--was a foreign notion and required a leap of faith. I didn't really believe it until months after surgery, when I saw my right foot climb a stair without asking my brain for permission first. I was being offered a new chapter to an old story, and the beginning of something else altogether. *** This rearranging of a life started out, too, as a love story-- a human-canine one, filled with the usual pratfalls and dropped cues of romance. My four-legged Boswell was a young Samoyed named Tula, a beautiful, irascible sled dog with an intrepid heart and the strength of a tractor. Trying to keep up with her--trying to be a middle-aged athlete in a failing body--was what first revealed to me the sort of trouble I was in. As she hurled herself through life with me stumbling along behind, she became my divining rod, herding me toward places I could not have gone alone. She stood by when I fell and got up and tried again; accordingly, I tried to pay attention to the world as she saw it. Dogs have a present-tense alacrity that makes short shrift of yesterday's bad news. They are hard-wired to charge forth, to expect good outcomes, and that viewpoint can shape the future as much as it anticipates it. I don't believe I'd have staggered into this glen of insight and physical change without her. "Your body has been through a major trauma," a resident told me when I called the hospital at midnight, with a 100-degree fever and a racing heart. "It was a carefully controlled trauma, but it's still a trauma." It was my first night home, several days after surgery, and I'd been told to report any signs of fever or shortness of breath. The surgical fellow who answered my call sounded sleepy but interested. I said I'd been released from the hospital that afternoon and gave him all my vital stats--blood pressure, hematocrit, oxygen levels, history of transfusions. "You're lucid and articulate," he said. "I know that doesn't matter much to you right now, but it matters greatly to me." I realized that he meant I wasn't raging with fever or non compos mentis from infection. "Your symptoms are distressing to you but not dangerous," he said. "They're all completely within the realm of normal." "In other words," I said, "a bulldozer just ran over me, but the guy driving knew what he was doing?" "Exactly!" he said, and we both laughed, and both, or so I assumed, went back to sleep. Days of inpatient physical therapy had taught me how to maneuver the crutches I would be on for the next six weeks. My house was full of friends and food and as prepped as a military canteen. But when I first got inside the door, all I could see was the obstacle course that lay before me: all those stairs and chairs and corners and narrow paths. I had been reduced to the most elemental part of being human: living utterly in the physical world. Even through the blur of painkillers, I was not much more than a set of sensate responses to pain--pain being a self-contained universe, not so much awful as it was all-consuming. For what seems like forever but was probably a week or less, I lived only according to its dictates. *** "Do people ever regret having this surgery?" I was pleasant enough when I asked this question of my physical therapist, who came to my house the next morning. But I was dead serious. I felt mauled. Worse, I was afraid I had allowed myself to be mauled--that something horrid and ineradicable had transpired from which I would never recover. The physical therapist was chipper and gracious and she didn't hesitate to answer. "Oh yes!" she said, and I flinched. Then she said, "Most of them are where you are right now. At the end of the tunnel, they say it changed their life." "How long is the tunnel?" I asked. "About six months," she said. "And how long is the horrible part?" I said. This time she paused. "About four weeks." OK, I thought. I can do four weeks of horrible, to change a life. My history with polio and my parents' reaction to it--my mother's early fortitude, my father's rough-bluster loyalty--are what first tempted me to gather this narrative, to splice past into present and try to make sense of it all. Polio is a far greater medical odyssey than my experience can even hint at; its individual stories are in danger of being forgotten as a piece of the social tapestry, because its firsthand witnesses, at least in the developed West, are middle-aged or older. Most of all I told this story because I wanted to say something about hope and the absence of it, and how we keep going anyway. About second chances, and how they're sometimes buried amid the dross, even when you're poised for the downhill grade. The narrative can always turn out to be a different story from what you expected. Hope isn't my long suit, but if momentum is a physical version of hope, well, I've got that. I still have dreams of crawling as an infant, and my body heaves in an absolute sense of going forward, with a kind of determination that feels like rushing water; it is the way one throws off despair. As long as I can keep moving in the dream, I am all right. So I wanted to tell people that--to say that sometimes force is all you have, and that has to be enough. Because with just that force, according to Newton, eventually you get to someplace else. A calculus of hope and motion. There's a term in scientific language, vast and precise, that came into being after Einstein changed everything: slower than the speed of light. That's me--that's the ordinary world--and I'll take it. Excerpted from New Life, No Instructions: A Memoir by Gail Caldwell All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.