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As a result, she often ends up being the one rejecting nuance. Because of her spare prose style, Gay has a tendency to reduce the views of her opponents or adversaries to unnecessary simplicity, and she is equally prone to making totalizing statements about herself, her likes and dislikes, and how other people see her. It's an interesting twist on an American Dream story-less about what a person does to achieve success and more about the things that hard work and talent can't necessarily fix. Gay has always mined her personal history for material without looking for pity or absolution from her reader, and while her spare, utilitarian prose could be conspicuously undecorated in her recent collection of stories Difficult Women, here it helps her avoid melodrama and the fundamental fallacy of writing about sexual violence. They are direct and undeniable, a powerful physical manifestation. I intimidate.' Her best sentences embody this account of her body: They possess majesty and resonance. In her memoir’s loveliest moments, Gay seems to transfuse what she relishes about her physical self into her prose. Unfortunately, instead of bringing her compassionate observation to bear on a syndrome that too often goes unacknowledged, Gay presents reams of what feels like her attempts at self-justification. Empathetic representations of this disorder in nonfiction are scant. Cause and effect are elided.I found myself wishing that a book-length exploration of the author’s hunger would examine every inch of this terrain, not merely skim it.
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the connections between her rape, her eating habits, and her body seem fertile and complex in ways that don’t always feel fully unpacked. It is in a book like this that her gift for dramatizing the breaking of silence can take priority over what she says. But in Hunger, Gay discovers what might be her ideal form and mode: a sustained, vulnerable striptease-revelation’s slow burn.
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Read Full Review >Īt times, reading her essays, I’ve longed for her to bring more nuance or rigor to the act of disclosure. unexamined contradictions mean that despite the book’s confessional nature, it never fully explains Gay’s distinctive sense of her body as the outer expression of an inner wound.
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But what does this rule of relatability do for a writer whose message, whose life experience, is the painful difficulty of relating? The answer is that it tends to compress it into an unsynthesized mass of minor contradictions, leavened by fun observations about TV shows and given gravitas by the undeniable suffering of the author. It may be true that, in order to get her message across, a public figure should strive to be relatable to as many people as possible. But a critique of her style would be elitist and pointless-her many fans love her regardless, and her work does not ask to be read as literary. She writes flat, unshowy sentences: When it works, there’s an enjoyable clarity and impassiveness to her delivery when it doesn’t, it’s mundane and repetitive. Although warm and accessible, her prose is also uneven, bland, and cliché-prone. The closest equivalent to the book’s tone is that of a ghostwritten celebrity autobiography: gossipy and full of minute and sometimes banal detail.
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Gay presents these ideas with a light touch. She writes about rape and its aftermath with such wounded, intelligent anger that a crime we are used to seeing primarily in sensational form on television becomes our reality as well as hers. Gay writes of extreme obesity with such candor and energetic annoyance that her frustration with herself and with the world around her attains universality. On the contrary, the movement of her thought and prose is open and expansive. Gay describes herself as 'self-obsessed,' but she has written a memoir that never slides into narcissism. Hunger is a walk in Gay’s shoes, a record of the private pain of the endless and endlessly mundane inconvenience of travel through a world set up for people who move through the world differently than you do. There is no successful therapy or diet or life-affirming meditation practice in Hunger. Nor does she indulge in the promise of improvement or even inspiration. Confessional memoirs often seem to spring from a hope that when a writer shares a painful experience, readers will not only be informed, they will be inspired to overcome their own pain.