Dear Friend, From My Life I Write to You in Your Life
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- $15.99
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- $15.99
Publisher Description
A luminous memoir from the award-winning author of The Vagrants and A Thousand Years of Good Prayers
'What a long way it is from one life to another. Yet why write if not for that distance?'
Startlingly original and shining with quiet wisdom, this is a memoir of a life lived with books. Written over two years while the author battled suicidal depression, Dear Friend is a painful and yet richly affirming examination of what makes life worth living.
Li grew up in China, her mother suffering from mental illness, and has spent her adult life as an immigrant in a country not her own. She has been a scientist, an author, an immigrant, a mother - and through it all, she has been sustained by a deep connection with the writers and books she loves. From William Trevor and Katherine Mansfield to Kierkegaard and Larkin, Dear Friend is a journey through the deepest themes that bind these writers together.
Interweaving personal experiences with a wide-ranging homage to her most cherished literary influences, Yiyun Li confronts the two most essential questions of her identity: Why write? And why live? Dear Friend is a beautiful, interior exploration of selfhood and a journey of recovery through literature.
PUBLISHERS WEEKLY
The vexed intersection between writing and living (or not living) is explored in these ruminative essays. Novelist Li (Kinder Than Solitude) explores tenuous subjects ruptures in time, the difficulty of writing autobiographical fiction, the pleasures of melodrama in meandering pieces that wander through personal reminiscences and literary meditations. Braided in are fragmented recollections from her youth in China, including a stint in the People's Liberation Army; her migration to America to become an immunologist, a career she abandoned to write fiction; stays in mental hospitals; travels as a literary celebrity to meet other literati; and intricate appreciations of writers, including Thomas Hardy, Elizabeth Bowen, and William Trevor. The book can be lugubrious; Li repeatedly visits the theme of suicide including her own morbid impulses and is given to gray, fretful melancholia ("There is an emptiness in me.... What if I become less than nothing when I get rid of the emptiness?"). Much of the text is given over to belletristic why-we-write head scratchers such as "this tireless drive to write must have something to do with what cannot be told." But the wispy philosophizing is redeemed by Li's brilliance at rendering her lived experience in novelistic scenes of limpid prose and subtly moving emotion.
