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How to Read an Unwritten Language
 
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How to Read an Unwritten Language [Paperback]

Philip Graham (Author)
4.0 out of 5 stars  See all reviews (3 customer reviews)


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Book Description

January 1997
Michael Kirby, a sensitive man who collects odd objects to mark the transitions in his life, tries to understand the language of the heart through his relationships to family and lovers. Reprint. NYT.

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Editorial Reviews

From Publishers Weekly

Evocative, lyrical prose and a keen eye for unexpected detail hold the reader spellbound through this odd, poignant tale of a sensitive man's quest to understand himself and his loved ones by cracking the code of their lives' elusive symbolism. When Michael Kirby is 11, his bored, emotionally unstable mother begins adopting imaginary personalities in front of her children, forcing them to play along and reverting to herself only when their father returns home from work. Michael, the eldest of the three children, becomes adept at identifying his mother's "thicket of selves" and at helping his unsettled siblings through her increasingly bizarre and dangerous charades. "In this way I grew up bilingually?learning both the... rules of English grammar at school and Mother's secret, impersonating gestures at home. My first language helped me make my way through the world; my second language helped me see through it." After his mother's breakdown and death, Michael continues to apply his exegetical skills more and more: to his cold, stoic father; to his sister Laurie, who becomes an actress as a means of controlling her mother's legacy; to his first wife, Kate, a talented artist afraid of revealing her inner self and of drawing people; to his new love, Sylvia, a meteorologist disillusioned with her profession and with life in general; and to himself and the collection of cast-off objects he collects at auctions and yard sales along with their unique stories. Through Michael's gentle voice, first-novelist Graham (author of a short-story collection, The Art of the Knock, and two other books) fashions a resonant narrative that explores the value of storytelling to make life bearable and the unending struggle to make sense of those closest to us.
Copyright 1995 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.

From Library Journal

The narrator of this well-written but frustrating novel haunts garage sales and auctions in search of ordinary objects?a wedding ring, a stone, and other knickknacks?for the healing stories that surround them. As Michael Kirby relates his history from childhood through college, his marriage to an artist who can draw objects but not people, and his present relationship, the reader meets a dysfunctional group of people whose inability to communicate leads to sad attempts to rewrite their lives. The early chapters dealing with Kirby's mother, who frequently pretends to her youngsters that she doesn't know them, powerfully communicates a woman's emotional fragility and the fear it instills in her children. However, the novel slides downhill from its powerful opening, and there are several one-dimensional characters whose motivations are never clear. Graham, author of the exhilarating short story collection The Art of the Knock (Morrow, 1985. o.p.), has not quite brought his first novel together. For larger literary fiction collections.?Nancy Pearl, Washington Ctr. for the Book, Seattle
Copyright 1995 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.

Product Details

  • Paperback: 254 pages
  • Publisher: Warner Books; Warner Books ed edition (January 1997)
  • Language: English
  • ISBN-10: 0446672785
  • ISBN-13: 978-0446672788
  • Product Dimensions: 8 x 5.2 x 0.7 inches
  • Shipping Weight: 6.4 ounces
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Best Sellers Rank: #2,121,916 in Books (See Top 100 in Books)

More About the Author

Philip Graham is the author of two story collections, The Art of the Knock and Interior Design; a novel, How to Read an Unwritten Language; and he is the co-author (with his wife, anthropologist Alma Gottlieb) of two memoirs of Africa, Parallel Worlds (winner of the Victor Turner Prize), and the forthcoming Braided Worlds. His most recent book is The Moon, Come to Earth, an expanded version of his series of McSweeney's dispatches from Lisbon.

Graham's fiction has appeared in The New Yorker, North American Review, Fiction, Los Angeles Review and elsewhere, and his non-fiction has appeared in the New York Times, Chicago Tribune, Poets & Writers Magazine, and the Washington Post. The recipient of a National Endowment for the Arts fellowship, a National Endowment for the Humanities grant, two Illinois Arts Council awards, and the William Peden Prize in Fiction, Graham teaches at the University of Illinois, Urbana-Champaign, and the Vermont College of Fine Arts. He is a founding editor and the current fiction editor of the literary/arts journal Ninth Letter.

His website and blog can be visited at http://www.philipgraham.net/

 

Customer Reviews

3 Reviews
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Average Customer Review
4.0 out of 5 stars (3 customer reviews)
 
 
 
 
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Most Helpful Customer Reviews

3 of 3 people found the following review helpful:
5.0 out of 5 stars Sometimes within the chaos there is a tragic logic, March 18, 1997
By A Customer
Philip Graham's protagonist comes from a family that has been broken. Broken by a mother's mental illness, a father's silence and the grasping need of children to understand. By listening closely to the stories of these characters Graham is able to tease out the tragic logic within each of them. There are stories everywhere in this novel. Stories behind the people, stories inside the people, stories in everyday objects - and it is these stories to which the main character, Michael Kirby, clings. The stories told by teacups and dolls' arms and seashells tell of the longing and needs of their owners. And these tales become healing tales in the hands of Michael who uses them to reach out and tend to others, healing himself piece by piece with each outside life he touches. If you have ever felt that there are days when no word could ever say as much to the soul as one smooth cat's eye marble, or that the need for love creates its own powerful and diverse community, then 'How to Read An Unwritten Language' is the book for you
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2 of 2 people found the following review helpful:
5.0 out of 5 stars I love this book, November 20, 2006
By 
Seehorse72 (Danbury, Connecticut United States) - See all my reviews
(VINE VOICE)   
This review is from: How to Read an Unwritten Language (Paperback)
This book sort of jumped out at me when my husband and I were visiting our local college's library. I was thrilled to be in such a large place filled with so many books, and I saw this book's title and just had to read it. The author describes his mother's mental illness through the eyes of a child and how he has to basically raise his younger siblings in the aftermath of his mother's death with a father who is overcome with grief and seems emotionally distant. I absolutely love the writing of this book, the way it details the usually overlooked objects in normal everyday life to find their meanings and make them more important than they would be usually. I enjoyed this book very much.
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2 of 2 people found the following review helpful:
2.0 out of 5 stars Interesting idea, but mediocre execution, July 15, 2003
By A Customer
This review is from: How to Read an Unwritten Language (Paperback)
The idea of building stories around found objects is an interesting one. How many times have we wondered "Who used to own this? What's the story behind it?" when encountering something that obviously used to belong to someone else. Unfortunately, the objects are merely a prop for the protaganist's self-indulgent self-analysis. Every time the story focused on the protaganist's thoughts and past, I found myself wishing the author had stuck to the objects instead. When readers don't care about what the author thinks they should care about, that's a serious flaw in a work, I think.
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