The author of Bel Canto -- winner of the PEN/Faulkner Award, the Orange Prize and long-running New York Times bestseller -- turns to nonfiction in a moving chronicle of her decades-long friendship with the critically acclaimed and recently deceased author, Lucy Grealy.
What happens when the person who is your family is someone you aren't bound to by blood? What happens when that person is not your lover, but your best friend? In her frank and startlingly intimate first work of nonfiction, Truth & Beauty, Ann Patchett shines light on the little-explored world of women's friendships and shows us what it means to stand together.
Ann Patchett and Lucy Grealy met in college in 1981, and after enrolling in the Iowa Writer's Workshop began a friendship that would be as defining to both of their lives as their work. In her critically acclaimed memoir, Autobiography of a Face, Lucy Grealy wrote about the first half of her life. In Truth & Beauty, the story isn't Lucy's life or Ann's life but the parts of their lives they shared together. This is a portrait of unwavering commitment that spans 20 years, from the long cold 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.
This is a tender, brutal book about loving the person we cannot save. It is about loyalty and about being lifted up by the sheer effervescence of someone who knew how to live life to the fullest.
1100552696
Truth and Beauty: A Friendship
The author of Bel Canto -- winner of the PEN/Faulkner Award, the Orange Prize and long-running New York Times bestseller -- turns to nonfiction in a moving chronicle of her decades-long friendship with the critically acclaimed and recently deceased author, Lucy Grealy.
What happens when the person who is your family is someone you aren't bound to by blood? What happens when that person is not your lover, but your best friend? In her frank and startlingly intimate first work of nonfiction, Truth & Beauty, Ann Patchett shines light on the little-explored world of women's friendships and shows us what it means to stand together.
Ann Patchett and Lucy Grealy met in college in 1981, and after enrolling in the Iowa Writer's Workshop began a friendship that would be as defining to both of their lives as their work. In her critically acclaimed memoir, Autobiography of a Face, Lucy Grealy wrote about the first half of her life. In Truth & Beauty, the story isn't Lucy's life or Ann's life but the parts of their lives they shared together. This is a portrait of unwavering commitment that spans 20 years, from the long cold 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.
This is a tender, brutal book about loving the person we cannot save. It is about loyalty and about being lifted up by the sheer effervescence of someone who knew how to live life to the fullest.
The author of Bel Canto -- winner of the PEN/Faulkner Award, the Orange Prize and long-running New York Times bestseller -- turns to nonfiction in a moving chronicle of her decades-long friendship with the critically acclaimed and recently deceased author, Lucy Grealy.
What happens when the person who is your family is someone you aren't bound to by blood? What happens when that person is not your lover, but your best friend? In her frank and startlingly intimate first work of nonfiction, Truth & Beauty, Ann Patchett shines light on the little-explored world of women's friendships and shows us what it means to stand together.
Ann Patchett and Lucy Grealy met in college in 1981, and after enrolling in the Iowa Writer's Workshop began a friendship that would be as defining to both of their lives as their work. In her critically acclaimed memoir, Autobiography of a Face, Lucy Grealy wrote about the first half of her life. In Truth & Beauty, the story isn't Lucy's life or Ann's life but the parts of their lives they shared together. This is a portrait of unwavering commitment that spans 20 years, from the long cold 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.
This is a tender, brutal book about loving the person we cannot save. It is about loyalty and about being lifted up by the sheer effervescence of someone who knew how to live life to the fullest.
Ann Patchett is the author of six novels and three books of nonfiction. She has won many prizes, including Britain's Orange Prize, the PEN/Faulkner Prize, and the Book Sense Book of the Year. Her work has been translated into more than thirty languages. She lives in Nashville, Tennessee, where she is the co-owner of Parnassus Books.
Ann Patchett is the author of six novels and three books of nonfiction. She has won many prizes, including Britain's Orange Prize, the PEN/Faulkner Prize, and the Book Sense Book of the Year. Her work has been translated into more than thirty languages. She lives in Nashville, Tennessee, where she is the co-owner of Parnassus Books.
Hometown:
Nashville, Tennessee
Date of Birth:
December 2, 1963
Place of Birth:
Los Angeles, California
Education:
B.A., Sarah Lawrence College, 1985; M.F.A., University of Iowa, 1987
The thing you can count on in life is that Tennessee will always be scorching hot in August. In 1985 you could also pretty much count on the fact that the U-Haul truck you rented to drive from Tennessee to Iowa, cutting up through Missouri, would have no air-conditioning or that the air-conditioning would be broken. These are the things I knew for sure when I left home to start graduate school. The windows were down in the truck and my stepsister, Tina, was driving. We sat on towels to keep our bare legs from adhering to the black vinyl seats and licked melted M&Ms off our fingers. My feet were on the dashboard and we were singing because the radio had gone the way of the air conditioner. "Going to the chapel and we're -- gonna get mar-ar-aried." We knew all the words to that one. Tina had the better voice, one more reason I was grateful she had agreed to come along for the ride. I was twenty-one and on my way to be a fiction writer. The whole prospect seemed as simple as that: rent a truck, take a few leftover pots and pans and a single bed mattress from the basement of my mother's house, pack up my typewriter. The hills of the Tennessee Valley flattened out before we got to Memphis and as we headed north the landscape covered over with corn. The blue sky blanched white in the heat. I leaned out the window and thought, Good, no distractions.
I had been to Iowa City once before in June to find a place to live. I was looking for two apartments then, one for myself and one for Lucy Grealy, who I had gone to college with. I got a note from Lucy not long after receiving my acceptance letter from the Iowa Writers' Workshop. She said that initially when she heard I had gotten into the workshop she was sorry, because she had wanted to be the only student there from Sarah Lawrence. But then our mutual friend Jono Wilks had told her that I was going up early to find housing and if this was the case, would I find a place for her as well? She couldn't afford to make the trip to look herself and so it went without saying that she was on a very tight budget. I sat at the kitchen table and looked at her handwriting, which seemed oddly scrawny and uncertain, like a note on a birthday card from an elderly aunt. I had never seen her writing before, and certainly these were the only words she had ever addressed to me. While Lucy and I would later revise our personal history to say we had been friends since we met as freshmen, just for the pleasure of adding a few more years to the tally, the truth was we did not know each other at all in college. Or the truth was that I knew her and she did not know me. Even at Sarah Lawrence, a school full of models and actresses and millionaire daughters of industry, everyone knew Lucy and everyone knew her story: she had had a Ewing's sarcoma at the age of nine, had lived through five years of the most brutal radiation and chemotherapy, and then undergone a series of reconstructive surgeries that were largely unsuccessful. The drama of her life, combined with her reputation for being the smartest student in all of her classes, made her the campus mascot, the favorite pet in her dirty jeans and oversized Irish sweaters. She kept her head tipped down so that her long dark blond hair fell over her face to hide the fact that part of her lower jaw was missing. From a distance you would have thought she had lost something, money or keys, and that she was vigilantly searching the ground trying to find it.
It was Lucy's work-study job to run the film series on Friday and Saturday nights, and before she would turn the projector on, it was up to her to walk in front of the screen and explain that in accordance with the New York State Fire Marshal, exits were located at either side of the theater. Only she couldn't say it, because the crowd of students cheered her so wildly, screaming and applauding and chanting her name, "LOO-cee, LOO-cee, LOO-cee!" She would wrap her arms around her head and twist from side to side, mortified, loving it. Her little body, the body of an underfed eleven-year-old, was visibly shaking inside her giant sweaters. Finally her embarrassment reached such proportions that the audience recognized it and settled down. She had to speak her lines. "In accordance with the New York State Fire Marshal," she would begin. She was shouting, but her voice was smaller than the tiny frame it came from. It was no more than a whisper once it passed the third row.
I watched this show almost every weekend. It was as great a part of the evening's entertainment as seeing Jules et Jim. Being shy myself, I did not come to shout her name until our junior year. By then she would wave to the audience as they screamed for her. She would bow from the waist. She had cut off her hair so that it was now something floppy and boyish, a large cowlick sweeping up from her pale forehead. We could see her face clearly. It was always changing, swollen after a surgery or sinking in on itself after a surgery had failed. One year she walked with a cane and someone told me it was because they had taken a chunk of her hip to grind up and graft into her jaw.
We knew things about Lucy the way one knows things about the private lives of movie stars, by a kind of osmosis of information ...
An Introduction from the Publisher
In Truth & Beauty, her frank and startlingly intimate first work of nonfiction, Ann Patchett shines a fresh, revealing light on the world of women's friendships and shows us what it means to stand together.
Ann Patchett and Lucy Grealy met in college in 1981, and, after enrolling in the Iowas Writers' Workshop, began a friendship that would be as defining to both of their lives as their work was. In her critically acclaimed and hugely successful memoir, Autobiography of a Face, Lucy Grealy wrote about losing part of her jaw to childhood cancer, the years of chemotherapy and radiation, and then the 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, cold winters of the Midwest, to surgical wards, to book parties in New York. Through love, fame, drugs, and despair, this book shows us what it means to be part of two lives that are intertwined.
Topics for Discussion
Ann and Lucy shared a deep and intimate bond. Is it only possible to form a relationship like that in early adulthood -- before careers are fully formed and long-term romantic relationships and children enter the picture? In what ways are our relationships with friends different than ones with our family members? Are they always different?
How does Lucy's struggle with illness and her own body shape her way of dealing with life and with the people around her? Lucy was an enormously talented writer. Did she use that gift as a way to make sense of life? Do you think writers and artists see the world differently, or more clearly, than other people?
Ann chose to write about their friendship in a very frank and intimate way -- to pay tribute to Lucy's life and their whole relationship by recording the moments of triumph and joy, as well as the times of anguish and despair. Would you have the courage to be so honest?
The writer's life seems to require a magical gift or creative spirit and incredible drive and focus. Are these qualities contradictory or complementary? What do you think enables writers to persevere through the years of "night jobs" in restaurants and bakeries while they work to realize their dream?
