THOMAS LARSON

(Fourth Genre Fall 2007)

Daniel Mendelsohn's The Lost is the story of his search for six relatives, his grandfather's brother's family, who were killed in the Holocaust. The search is ocean-going and slow to unfold, held back yet pushed on by its watery domain. The book presents a handful of memories from a handful of survivors and witnesses, many over eighty, from one Polish town. Yet even the mealiest of recollections carry a mystery—and it is this mystery about what might have happened to the six that has aggrieved others and consumes Mendelsohn. The book is a testament to, and an enactment of, the trappings of memory's rituals: how we linger, defend, indulge, and exhaust what we hope to believe about the past and what we must relinquish as speculation. To plumb its depth, Mendelsohn must reawaken the dormant yet simmering ache of the Jews, re-grieve their loss, if the book is to be true. Author and story are so interdependent that the family's vanishing is indistinguishable from Mendelsohn's elegiac memorial to them.

(San Diego Reader August 16, 2007)

It's a Good Story for You

Though she was my editor, I never met Judith. I knew her instead via calls and e-mail. When she phoned, there'd be that throaty alto, so sure, so self-possessed. I'd grab a pen, and she'd dictate my assignment, then say, "It's a good story for you." Why that was so I never asked. I was grateful just to be called, to be trusted. She knew the story would find its disposition in me as I wrote it.

Judith's writing is what enticed me to want to write for the Reader. During the 1980s, I devoured her profiles, whether on Herbert Marcuse or a dwarf. How shapely the prose, how fascinated the author. In 1987, a dozen were collected in The Left Coast of Paradise, a book I often reread. In the 1990s, I cherished those sections from her novel-in-progress and especially her review-essays, pieces I razored out and saved.

I.

In the last year of his life, Grandpa Wallin quit driving. For years he had tooled his big Plymouth over the beveled streets, the grey, rough asphalt dark from rain or silvered by the sun. When my brothers and I rode in the back seat, he’d crab, for God’s sake, stop all that commotion. On Sundays he used to ride with us to our ritual breakfasts, a family outing so Grandma didn’t have to cook. One day, we were half way out the door and he said he didn’t feel well and was staying home. He wasn’t sickly. A retired newspaper ad salesman of 53 years, he seemed even at home to be at work, putting on a white shirt every day and sitting in his chair, reading. He seemed as stolid as ever to my nine-year-old mind. He might have been tired, though I don’t remember him napping except, maybe, when the book got dull and it rested on his stomach. (The man checked out four or five books a week from the library, Zane Grey and Frank Yerby, and read religiously.)

(San Diego Reader May 10, 2007)

Andrea Kane is new to San Diego: the Navy has stationed her husband here, and they've landed in Imperial Beach. While he serves, she's become an aromatherapist and a perfumer. Locally, she's already making a name for herself by creating and marketing organic creams, lotions, and blends, pomades and balms. Kane and I are sitting side by side on a black vinyl couch in a coffee shop in Imperial Beach. I've found her because I need an expert to guide me into the world of olfaction, the odoriferous, the redolent, the aromatic. Kane is 34, wears a denim skirt, a silver-flecked black cotton shirt layered over a white T-shirt, and a fragrance. Whoa, what's that? I blurt, getting some creamy, warm waft from her hair. That hair is short braids, like sticks of cinnamon, that dangle on her forehead and flop when her raucous laugh jars them. "That," she giggles, "is me. That's my blend." She won't say what it's made of, only that she's working on it. "It's just a fragrance; it has no therapeutic benefits." Except, I think, to attract my notice of it as an enticing smell. I also detected, entering the café, a whiff of patchouli oil, an odor that, for me, signals strange. Kane says, yes, that's her too, a scent so strong that it tarries in the air several minutes after the person has passed.

(Review Americana, Volume 2, Issue 1, Spring 2007)

For the past year, I've been monitoring the New York Times' nonfiction paperback bestsellers, and I find that 80 percent (12 of 15) are either memoirs or autobiographies. It's true that because I write critically about memoir as well as teach and write the form, I'm partial. But memoir's popularity still astounds me. It's the literary form of our time. Why?

Americans are an impatient lot. We don't want to wait until we're old and grey to discover what has mattered to us. The memoir has evolved so that octogenarian or college student can use the form to examine the emotional truths of their lives. Unlike autobiography, memoir doesn't require swaths of time to pass before a writer attends to an illness, a joy, a tragedy. If you haven't already, read Joan Didion's sudden memoir, The Year of Magical Thinking, the immediate telling of her husband's death in 2004.

(University of San Diego Magazine Spring 2007)

Last April, Dee Aker and Laura Taylor, peace-builders with the Joan B. Kroc Institute for Peace & Justice, flew to Kathmandu, Nepal. It was their third trip in seven months, each flight taking 38 hours with a 10-hour layover in Bangkok. Before leaving San Diego, Aker and Taylor had read State Department warnings: Nepal was still unstable and had been since Feb. 1, 2005, the day King Gyanendra had declared a state of emergency. Frustrated by a decade-old Maoist insurrection, he had closed the country, jailed political dissenters, shut down radio and TV stations, and cut electric communications, even cell phones. In the interim, some liberties had been restored, but much of the country continued to struggle under martial law.

(San Diego Reader March 8, 2007)

On a hot day in late November, I'm all set to enter Vons: my role for the day -- food archaeologist. Janice Baker, a registered dietitian, certified diabetes educator, and medical nutrition therapist, is my guide. My goal is to learn what food we San Diegans buy. I want to understand what should be an uncomplicated question: Where does that food—displayed in unrepentant quantities at supermarkets, fast-food chains, soup-and-salad lines—come from? Baker is a svelte, chestnut-haired woman with the most sensible eating habits you'll ever envy. She's your food conscience. Once a week, Baker escorts the weight watchers and the diabetics, or anyone on a doctor-prescribed diet, through Vons. She lectures them about caloric density and sodium concentrations so they'll unlearn their shelf behavior. I like it that her high diet IQ is sauced with wit: "A food has nutritional value only when you eat it." As we go through the doors, she reminds me that before we can know what people eat and where it comes from, we must evaluate how it's presented.