A woman left her abusive husband in the middle of the night and, taking their 3-year-old son with her, drove through the dark from Ohio to Boston, reaching across the boy to hold the broken handle on the passenger door to make sure he didn't fall out. The scene stuck with me, like many others I heard in workshops I began leading in writing autobiography a decade or so ago. It seemed to me that these true stories, personal slices of American life, conveyed the feel and taste and sense of this society more faithfully and compellingly than the novels I used to count on for such understanding. Current novels continue to seem to me less revealing of "the way we live now" than the best of the memoirs that appear with increasing regularity on bookshelves and even bestseller lists.
The breakthrough contemporary memoir was Mary Karr's The Liars' Club in 1995, accelerating what was already a popular trend and upping the literary stakes of the genre by the poetic precision of its language and the headlong thrust of its narrative. Now she is back with a sequel to her childhood, the adolescent era whose major symbolic (as well as physical/mental/emotional/psychic) event was losing one's virginity. In typical Karr-like celebration of the vernacular, the title, of course, is Cherry.
If her second effort is not as uniquely satisfying as the first, it is not because Karr has lost any of her considerable powers as a prose stylist or suffered from the ancient curse that allegedly plagues any follow-up with mediocrity. The problem–or at least the difference–is simply that The Liars' Club was based not only on the author's experience but on the soap-operatic adventures of her boozing, man-loving, peregrinating mother. Mary's mom not only blessed her with life but also with as colorful a ready-made character as any author-daughter could wish for to star in her first memoir. Like Mary as a child and her sister, Lecia, the reader of The Liars' Club is carried along by their mother's dramatic ups and downs and outs, providing in the process plenty of plot. Agnes Nixon, creator of the longtime favorite soap opera All My Children (as well as nearly the entire ABC lineup of daytime drama) once defined the basic rule of plot as "the heroine must always be in peril," and Mary's mother followed that rule.
Focusing this time on adolescence, Karr is true to the inherent ennui of the teenage years, which means that Cherry is long on mood and short on plot (for one thing, Mom stays put in this era). Karr explains that "no long episodes from that dull time exist…. There are only brief snippets of memory, outtakes, captured instants where your sagging performance becomes plain." Her teenage best friend shares with teenage Mary "a monastic passion for doing virtually nothing." Reflecting on that era of her life the author reports that "a camera trailing you would find neither plot nor action–two girls laze around on sofas at various stages of torpor reading or talking about what they will read or have read or plan to write or make or do in some vaporous future."
True as this is to adolescent life, and as artfully as it is described, torpor is hardly riveting. Nor does the small-town East Texas setting of Leechfield provide much to write from home about, "with its mind-crushing atmosphere of sameness…. Sometimes you even fancied you could hear the traffic light over deserted main street blink. Time lagged mule-like in muddy tracks."