Memoirs as a journey from blindness to sight

By Jerry Waxler

(You can listen to the podcast version by clicking the player control at the bottom of this post or download it from iTunes.)

David Sheff’s memoir “Beautiful Boy” oscillates between the uplifting joy of his son’s Coming of Age, and the tragedy of his son’s tragic fall into addiction to crystal meth. All the ugly stuff is there, how Nic lied, broke in and stole from his own parents and neighbors, slept in alleys and drug houses but refused help. And then there were the drug-free periods when this beautiful boy was back, a delightful human being, full of creative spirit and enormous promise.

Sheff, a professional journalist, recounted his son’s self-destructive journey, starting with the first suspicions. Then came the confrontations, the efforts to control his son’s behavior, and the gut wrenching worry. The horrible fact is that millions of parents ask themselves every day or even every hour, “Where is my child?” “Will this be the call from the police?” “What must I do to stop the downward slide?” “Should I pay for another round of rehab, or is that last relapse a sign that I must write this child out of my life?”

The book has all the elements of a compelling drama. There is the author’s loving second wife, and their two sweet younger children. There is the constant anxiety, and the play by play experience of watching the son grow up, and then fall apart. Sheff applies his journalism skills to report on the special hazards of methamphetamine addiction: the high rate of relapse after rehab; the irrational behavior of the addict when craving the drug or under its influence; the denial and lying. And then, the experience begins to take a toll on David Sheff himself.

It’s no secret that stress undermine health, and sure enough, the author’s extended periods of frantic worry almost kill him. About two thirds of the way through the book David has a life threatening brain hemorrhage. Until then, Nic’s father and step-mother had been going to Al-Anon meetings and hearing that they cannot change the addict. The addict himself is the only one who can do that. Al-Anon’s message is that the people around the addict need to figure out how to take care of themselves. But a parent’s job is to take care of a child. Right? So while hearing the Al-Anon messages they had not yet embraced them. Now, after the hemorrhage, they have no choice. At last, we remember this memoir is by the father, and now the story shifts inward to his own introspective journey.

Nic’s biological mother had played only a minor role through the course of the book. David rarely spoke to her, except to make arrangements to hand Nic back and forth between the two homes, one with dad in northern California during summer and the other with mom in southern California during the school year. When Nic started disappearing, they called each other to get information about where he might be.

Three pages from the end of the book, Nic’s biological parents have their first therapy session together. It turns out that they went through a bitter divorce when Nic was little more than a toddler. I try to understand what it felt like to be Nic, raised by parents who resented each other and who lived hundreds of miles apart.

I don’t know whether to laugh in relief or cry in rage that it has taken this much anguish to force these two people into a therapy session with their son. I, as do most therapists, believe that all the members of a family influence each other. With his two parents split apart, I picture Nic split apart inside himself, too. It must have taken a superhuman effort to hold these warring parts of himself together.

For most of the book, I was sucked into the premise that it was all about Nic. When will he come back? Will he completely resolve the addiction? But that’s the son’s journey. I finally realize this is David Sheff’s’ memoir. I want to understand more about his inner world. Will he awaken psychologically and spiritually, so he can offer his love to his two younger children and his wife, and stay centered, healthy, and supportive himself? David Sheff’s inner journey begins close to the end of the book and runs out of room. After finishing Beautiful Boy, I could see that dad was just getting started.

I felt a little cheated that it took the author so long to start looking within himself. Then I look at my pile of memoirs and realize that most of the authors continue through the darkness for a really long time. Dani Shapiro in “Slow Motion” took forever to realize she was destroying herself. Jeanette Walls in “Glass Castle” took forever to grow up and get away from the clutches of her weird parents. Frank McCourt had to grow up and get away from his destructive father in “Angela’s Ashes.” Jim McGarrah had to fight in a war, and then go home to figure out how to heal in “A Temporary Sort of Peace.” William Manchester in his World War II battle memoir “Goodbye Darkness” first had to show us his demons, before finally coming to terms with them in the final chapters.

Despite the fact that David Sheff’s knowledge of himself remained hidden for so long, it did finally force itself to the surface. This long climb, known as the Character Arc, creates hope, letting me know that through the circumstances of life, the character is becoming a better, smarter, deeper person. This journey the author has taken through the course of his memoir fulfills my faith in the human experience – that if we keep hacking at it we will end up smarter by the time we die than when we started. This faith is one of the unspoken agreements we have with the authors of our books. We conspire together to promote this lovely truth about life, that in living we learn and grow, or as stated more poetically in the lyrics of Amazing Grace, “I once was blind but now I see.”

Writing Prompt – Character Arc
As you look for a structure for your life story, your job is to find a meaningful segment or point of view that will provide the reader with a compelling experience. One way to look for this segment or point of view is to find the lessons contained within it. Of course, your end result does not need to beat the reader over the head with such a lesson but if you can find this Character Arc, and hold it in mind, it can help develop a compelling time frame and structure for your memoir. Name the life lessons you think you have drawn from your experiences. For each one, brainstorm how it might fit as a template for your memoir.

Writing Prompt – Drugs and alcohol
While the horrific downward slide of David Sheff’s son is hopefully a minority experience, millions of people are affected by substances. Often the abuser creates a wall of denial, convincing him or her self that they can handle it and it doesn’t affect anyone else. Write an anecdote about how you or people in your life have been affected by substances. If you have a romantic notion of your own use when you were younger, write the experience from your parents’ or partner’s eyes. If you were deeply affected by someone else’s abuse, write a story seeing what that experience might have looked like from their eyes.

Note

David Sheff’s son Nic also wrote a memoir, called “Tweak” about his experience as an addict. I am just getting started on it. “Tweaked” is the slang term that describes the frantic mental state of a methamphetamine high. From what I have read so far, the book is quite explicit and should be eye opening about the other side of the drama.

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Writing Conference: Tip for Memoirists – Use myth to find story

by Jerry Waxler

The Greater Lehigh Valley Writers Group (www.glvwg.org) held its annual meeting April 27-28, 2007, and I found all sorts of valuable writing insights, that I want to share with memoir writers.

I went to a workshop for non-fiction writers given by Jack Lule, professor of journalism at Lehigh University, and author of “Daily News, Eternal Stories, the mythological role of journalism.” His talk was about using mythology to write non-fiction stories. I knew I was going to be interested in his ideas, because I have been reading and writing about how to use the Hero’s Journey to help write the story of your life. My ideas on this topic were derived from several books, mainly Joseph Campbell’s Hero of a Thousand Faces and Christopher Vogler’s The Writer’s Journey, Mythic Structure for Writers, as well as other experiences in my workshops, and my own analysis of storytelling. So I was looking forward to hearing what a university professor had to say on this topic. I was not disappointed.

The first thing he did was emphasize the importance of story. This might seem surprising coming from a journalist. Journalists are supposed to just write what they see. Right? But Lule started noticing some news caught fire, and some didn’t. He began looking for the reason for this difference, and he realized that when a story just conveys information, it does not generate energy. The stories that have the most energy are organized as a story, not as “information.”

This is a powerful observation for an aspiring memoirist who is trying to gather the facts of their life and turn them into a good read. But the next problem is the obvious question, “how do you find the story?” I’m glad you asked. Through years of observation, Lule realized that the stories that caught the public’s imagination looked a lot like myths. The idea that myths are built in to our collective consciousness is a familiar perspective to those scholars who study Carl Jung. His ideas have become canonical observations in the cultural and psychological thinking of the twentieth century.

This could be a fabulous insight to help journalists or memoirists who want to organize information into a story. But what good is this information for those of us who have don’t have time to go back to school, or read dozens of books on Greek, Norse, or Celtic mythology, and then derive from all that reading the lessons that could help our writing?

That’s where teachers and writers like Jack Lule come in. Through examples and explanations his book helps us find the “myth power” that fuels the story. Some of the myths he mentioned in his talk are the “trickster”, the “great mother,” and the “hero figure.” Armed with this information, we can then use it to find the myth that applies to our facts. Such insights could help us organize our memoir, make it more compelling and engaging. With the help of Lule’s book, which I immediately bought, I expect to find additional ways to use myth for storytelling. myths that Lule offers.

I’ve already written about the Hero’s Journey in both of my books, Four Elements for Writers, and Learn to Write your Memoir in Four Weeks. Now leaving this workshop I felt that in just 50 minutes, my writing reach had been extended. It was a great way to spend an afternoon, and I expect to be able to make use of this information for the rest of my life.

More memoir writing resources

To see brief descriptions and links to all the essays on Memory Writers Network, click here.