This book opens with a carrot. The Imposter's Daughter: A true memoir. This can be read at least two ways: a true memoir unlike all those false memoirs you've read recently, and: a true memoir, as opposed to my life prior to writing it, which was a big lie. If the subtitle isn't enough of a clue on how little lying will be displayed or tolerated during the duration of this book, the dedication reads, "For all the truthtellers" AKA: "Narcissistic liars, for once this is not about you."
Sandell describes her dad in such sociopathic detail, detail which closely resembles my own dad's patterns, I couldn't help but be pulled in to the crazy; I read the book in one sitting.
Each section (or chapter) has its own title, making it seem as though these sections could have been published separately as mini-comics like Gabrielle Bell has done, but I don't think they were. Without any white space on the page, I didn't notice the illustrated headings until the second reading.
Starting on page 18, Sandell inserts drawings from her childhood. This builds her authority as an artist (see, she's been doing this drawing thing for a long time) and as a truth teller (look, her dad's been acting weird for even longer). She may have even used her old drawings to jog her memory on what her homelife was like back then.
Until page 27, Sandell illustrates herself as a naive child, but Sandell masters narrator/character split here. We have to see little Laurie as naive in order to build empathy and healthy adult Laurie fosters this bonding.
Starting on the very first panel of the book, by no mistake titled "Secrets", we know something's coming. Something lurks behind these brightly colored pages and culdesac'd suburbia.On page 27, the naivete ends with the panel titled, "Signs", illustrated with guns.
In "Relative Imposter" (p. 78) Sandell stands up to her father and ends that section with what I think is the most important page in the book, page 82. It's drawn by little Laurie and takes up the whole page. Little Laurie stands in front of a giant bust of her father. Her speech bubble reads: "This is Mt. Rushmore?" Through the inclusion of this drawing, big Laurie tells little Laurie her dad is no longer monolithic, he has no power over her. We could end here, but big Laurie's demons take longer to transform, or at least manage. Love trouble with a stable man, addiction to Ambien and alcohol, ,living vicariously through famous people she interviews, and of course, Dad.
By ending the book with an image of her writing down the first page of the book, she shows us what recovery work needs to be done before one can recover their memories enough to tell a cohesive story. Whether it's accurate or not, she's telling us she had to get sober before she could write it down. And I believe her.
'By ending the book with an image of her writing down the first page of the book, she shows us what recovery work needs to be done before one can recover their memories enough to tell a cohesive story. Whether it's accurate or not, she's telling us she had to get sober before she could write it down. And I believe her.'
ReplyDeleteI really appreciated your last paragraph here! It's an interesting analysis and different to how I analyzed the last panel. I saw it as a reflective moment that harkened back to the beginning, and in a way, it showed a cyclical nature of coming-of-age. Thanks a for a great blog and I look forward to reading your thoughts more!
~m
the interplay of time that she uses in ways other gm's don't Time is usually sequential with some dreamlike memories, but her use of the past points to plot points very specifically.You focused in on the weight of the relationship with the father that is pervasive and yes, dysfunctional and toxic. Her escapism is blotted with all of it.
ReplyDeleteGreat observations and tie-ins.
e
Your point about establishing authority as an artist is helpful in understanding why such a book should be graphic - it is a language she knows and is versed in. The recurring use of her childhood art reminds us that this is HER language. Also, your point about page 82 and the sculpture that is not Mt. Rushmore: I also felt like it was kind of jab at the grandiose tales he told - as if he might have once claimed to be on Mt. Rushmore. Narcissists lose their sense of rationale and forget that what they claim can sometimes be verified.
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