Ann Patchett and the late Lucy Grealy met in college in 1981, and, after enrolling in the Iowa Writers’ Workshop, began a friendship that would be as defining to both of their lives as their work. In Grealy’s critically acclaimed memoir, Autobiography of a Face, she wrote about losing part of her jaw to childhood cancer, years of chemotherapy and radiation, and endless reconstructive surgeries. In Truth & Beauty, the story isn’t Lucy’s life or Ann’s life, but the parts of their lives they shared. This is a portrait of unwavering commitment that spans twenty years, from the long winters of the Midwest, to surgical wards, to book parties in New York. Through love, fame, drugs, and despair, this is what it means to be part of two lives that are intertwined . . . and what happens when one is left behind.
This is a tender, brutal book about loving the person we cannot save. It is about loyalty, and being lifted up by the sheer effervescence of someone who knew how to live life to the fullest.
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Chicago Sun-Times
Unforgettable...carefully rendered and breathtaking.
Joyce Carol Oates—New York Times Book Review
An inspired duet...riveting.
BookPage
...lyrical, lovely...Patchett has preserved her friend’s talent in this book, and provided more evidence of her own.
Elle
{a} loving, clear-sighted portrayal..
New York Times Book Review - Joyce Carol Oates
"An inspired duet...riveting."
New York Times Book Review
An inspired duet...riveting.
Janet Maslin
The beauty of this book is in the details, and in the anecdotes so colorfully recalled. There is Lucy's blind date with George Stephanopoulos, who answered her personal ad in The New York Review of Books. There is the time the two aspiring authors watched "Glengarry Glen Ross" in horror, wondering what life would be like if they held David Mamet-style jobs. And there is the way Ms. Grealy could move down the street, "everyone waving as if she were gliding past on a rose-covered float." The drive-in bank teller would say hello. Ms. Grealy, however much she loved attention, sighed and told Ms. Patchett: "That's not even my bank."
— The New York Times
Jocelyn McClurg
Truth & Beauty (the title comes from a chapter in Grealy's Autobiography) is heartbreaking, funny, disturbing, at times infuriating — just like the odd but endearing Lucy.
— USA Today
Lisa Zeidner
… this memoir, dedicated to Grealy, is more love letter than autobiography. No reader will doubt the sincerity, or ferocity, of the love.
— The Washington Post
The New York Times Book Review
Truth & Beauty is a harrowing document, composed in a spare, forthright style very different from the elegant artifice of Patchett's best-known novels...It can be no surprise that the memoir of a friendship that ends in the premature death of a gifted writer does not make for cheerful reading. And yet there is much in Truth & Beauty that is uplifting, a testament to the perennial idealism and optimism of the young.—Joyce Carol Oates
The New Yorker
Lucy Grealy attained prominence, in 1994, with “Autobiography of a Face,” a restrained account of acute disfigurement and continual surgery after a childhood tumor required the removal of much of her lower jaw. Grealy died of a heroin overdose in 2002, at the age of thirty-nine, and Patchett’s memoir of her friend, whom she first met in college, reveals a level of anguish that was submerged in Grealy’s book. Patchett sees herself as the hardworking ant to Lucy’s glamorous grasshopper, with her life in New York, countless friends, and a habit of finishing work at the last minute. But Grealy’s tremendous gift for friendship signalled a deep neediness and an inability to be alone that also made it difficult for her to sit down and write. If Patchett’s book doesn’t quite stand on its own, it is a moving companion to Grealy’s.
Publishers Weekly
This memoir of Patchett's friendship with Autobiography of a Face author Lucy Grealy shares many insights into the nature of devotion. One of the best instances of this concerns a fable of ants and grasshoppers. When winter came, the hard-working ant took the fun-loving grasshopper in, each understanding their roles were immutable. It was a symbiotic relationship. Like the grasshopper, Grealy, who died of cancer at age 39 in 2002, was an untethered creature, who liked nothing more than to dance, drink and fling herself into Patchett's arms like a kitten. Patchett (The Patron Saint of Liars; Bel Canto) tells this story chronologically, in bursts of dialogue, memory and snippets of Grealy's letters, moving from the unfolding of their deep connection in graduate school and into the more turbulent waters beyond. Patchett describes her attempts to be a writer, while Grealy endured a continuous round of operations as a result of her cancer. Later, when adulthood brought success, but also heartbreak and drug addiction, the duo continued to be intertwined, even though their link sometimes seemed to fray. This gorgeously written chronicle unfolds as an example of how friendships can contain more passion and affection than any in the romantic realm. And although Patchett unflinchingly describes the difficulties she and Grealy faced in the years after grad school, she never loses the feeling she had the first time Grealy sprang into her arms: "[She] came through the door and it was there, huge and permanent and first." Agent, Lisa Bankoff. (May 14) Forecast: Patchett and Grealy are graduates of the Iowa Writers Workshop, and alumni and other literary types will be interested in this book. National advertising and a reading group guide could make it popular among a more general women's audience. Copyright 2004 Reed Business Information.
Library Journal
Mourning her best friend, Lucy Grealy, Patchett relies on memory and selections from Grealy's letters to write of their shared lives in this moving tribute and eulogy. Ironically, Grealy (Autobiography of a Face) succumbed to a heroin overdose at age 39 after surviving Ewings Sarcoma as a child and multiple facial surgeries throughout her life. Alumnae of Sarah Lawrence College, the women met at the University of Iowa while working on their MFA degrees and became lifelong friends. Patchett's loneliness and love for her friend is heard in her voice; tonal variations aid the listener in identifying the speaker at any given moment. This program will be of interest to fans of both women. Recommended for public and academic libraries.-Laurie Selwyn, Grayson Cty. Law Lib., Sherman, TX Copyright 2004 Reed Business Information.
School Library Journal
Adult/High School-Lucy Grealy, whose Autobiography of a Face (HarperCollins, 1995) found critical acclaim as well as a popular readership, died two years ago. Patchett first met the poet in college, became her roommate in graduate school, and remained devoted to her through years of artistic, medical, economic, and emotional upheavals. The ties binding these two women included resolve to meet physical adversity with energy and to place friendship beyond the reaches of either habit or convenience. Patchett moves the story from their acclimation to one another through her friend's lifelong desire to gain a reconstructed face and the lengths to which she went in search of what she'd lost to childhood cancer, to Grealy's ultimate slide into drugs and suicidal ideations. Patchett's own self-perception as the straight arrow to her friend's daredevilry is disclosed across time, as is Grealy's increasingly frenetic chase for a reconstructed face and, as important, for fame earned through writing. In spite of the story unfolding through the years between college and near middle age, teenage girls will find it accessible and engaging. The author's clear-eyed depiction of the writer's life as requiring gigs waiting tables and suburban tract housing is refreshingly honest. She includes details of more glamorous moments as well; this is no cautionary tale, but a celebration of friendship and of craft.-Francisca Goldsmith, Berkeley Public Library, CA Copyright 2004 Reed Business Information.
Kirkus Reviews
In her first nonfiction, novelist Patchett (Bel Canto, 2001, etc.) paints a deeply moving portrait of friendship between two talented writers, illuminating the bond between herself and poet Lucy Grealy. Although they were undergraduates together at Sarah Lawrence, it was not until 1981, when both were teaching and writing at the Iowa Writers' Workshop, that the young women's lives collided. As Patchett recounts it, the tiny Grealy (Autobiography of a Face, 1994) leaped into her arms. "It was not so much a greeting as it was a claim: she was staking out this spot on my chest and I was to hold her for as long as she wanted to stay." That image persists in their 20-year friendship; Grealy had a powerful hold on her many friends, Patchett included. A survivor of childhood cancer with a badly disfigured face and a frail body, Grealy struggled with enormous physical difficulties, bouts of depression, and money problems; she was also given to reckless sexual adventures. Early in their friendship, Patchett decided that she would not spend her time worrying about her friend; instead, she would show her love in actions. And she did so for the rest of Grealy's short life, providing shelter, paying bills, giving post-surgery care, cleaning up the messes. After Iowa, their lives took different paths, but their friendship remained strong. Patchett saved Grealy's letters to her and includes generous excerpts that make it easier to understand her commitment to her demanding friend. The letters reveal Grealy's warmth, her captivating intellect, her poet's eye. After her last round of surgery failed, she went from prescription painkillers to street heroin, and her life spiraled downward, but even whenGrealy was most devastated and difficult, Patchett still found her the person she knew best and was most comfortable with, the friend like no other to whom she could speak with "complexity and nuance."A tough and loving tribute, hard to put down, impossible to forget. Agent: Lisa Bankoff/ICM
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