The Michigan Daily - Wednesday, September 16, 1998 - * Purdy's 'Gertrude' finds and loses love 'Lt's talk about' low-quali films Gertrude of Stony Island Avenue James Purdy William Morrow It is a story of love, and a story that lacks love. It is a story of living, and a story of those who have never truly lived. In his latest novel, "Gertrude of Stony Island Avenue," James Purdy explores what it means to lose a love and the feeling of- never having loved at all. James Purdy is a prolific writer who, until this novel, has been more highly recognized in foreign countries than his own. "Gertrude" finally brings Purdy into the loop of respected American authors. The main character of Purdy's newest novel is also the narrator. Carrie, a woman perhaps in her sixties, lives with her husband, Vic. Throughout the course of the novel, Carrie must learn to- cope with ther loss of her only d~~ atug -=e; , daughter, Gertrude. Carriev desperately tries to> accept that she never truly loved her daughter, and her daughter never loved her. As a result of her inability to cope with reality, Carrie constantly blames others for the lack of love that existed between her daughter and her- self. In this novel Carrie goes on a long journey of self discovery. Her journey proves successful and Carrie eventually allows herself to understand Gertrude and let go of her death. Only now, after an entire lifetime, can Carrie begin to live without existing in the shadow of her husband or her daughter. Purdy's ability to dictate fic- tion in such a bitterly honest manner leaves the reader with the feeling that they once knew the characters of his book. The reader's heart aches at the real- ization that there are Carries and Gertrudes that exist in the thousands, mother and daugh- ters who cannot love each other. Purdy's style is simple and honest. Without being verbose or condescending, his style embraces a sophistication not characteristic of a novel that flows so easily. Though not written in the stream of con- sciousness, Purdy's characters are so whole and real that the reader can understand what makes them tick, can know what they are thinking without being told. Even more thrilling than Purdy's unique style of writing is his comprehensive under- standing of the enigma of a woman. His narrator, Carrie, exists almost as a real life woman. Her neuroses, her jeal- ousies, her need to be ftce arc so honest and universal, yet seem to be emotions of womanhood that only a woman can under- stand. Purdy proves that it is possible for man to understand woman, for his depiction of Carrie could not have been more real had it been written by a woman herself. Through his dialogue, Purdy reveals the inner workings of his characters. Carrie who address- es her husband Vic as Daddy, appears at first to be a child. What is so rare is that though the reader knows the main characters are older since they have been mar- ried for more than forty years, their naivete and lack on knowledge about the world and themselv s keep raising the qus- tion of their ages. Purdy purposely never mentions their age, and the reader is often left picturing a young couple stumbling through life. By creating older characters who at times seem so childlike, Purdy leaves room for readers of all ages to embrace his char- acters. The reader, like Carrie, goes on a journey of self-dis- covery. Near the end of the novel, Carrie says, "I had never, like the other people, lived. And being such a woman I had failed my only child, Gertrude. But more importantly I had failed myself." Such shows the final strength Carrie gains, and the honesty and selfishness that are life. "Gertrude of Stony Island Avenue" is a novel that all should read. Men and women alike, spanning all cultures and regions can gain so much from reading this novel, they can gain a life. Both young and old will realize that it is never too late to gain closure on something forc- ing one to cling to the past. Only when one is able to live in the moment, can one truly begin to live. -Corinne Schneider By Joainne Alnijar '._lx Arts W ritr O.K., let's face it: sometimes men can he a little unbearable (to say the leasi Often after a Mr. Right walks out the door forever, there is an inti- imate honding that occurs between women regarding why Mr. Right - like many other men -- turned out to be Mr. Wrong. Along with this bond- ing comes some necessary male bashing, tears and ice cream. Based on this premise, Troy [Beyer's "Let's Talk About Sex," exposes an audience to three extremely shallow women who lead soap opera lives filled with choppy story lines and bad music. Jazz (Troy Beyer), Michelle (Paget Blrewester) and Lena (Randi Ingerman) are three women living together in Miami, looking to find love. Jazz is an overly ambitious advice columnist who wants to start her own talk show. When hr poten- tially interested producer .suggests that she make a video tape demon- stration of her idea, Jazz teams up with her two roommates to interview women all across Miami about "mat- ing and dating in the '90s." While making the documentary, Jaz is trying to land her former fiancee; Michelle is using and abus- ing men; and Lena is in a w;ham- bam-thank-you-ma'am relationship. Sounds relatively simple, right? s Wrong. This simple story goes astray because Beyer (as writer and first-time director) fails to give these wsomen any sort of depth. As a result, the audience is emotionally isolated Courtesy o of F rn Figwes Randi ingerman, Troy Beyer, and Paget Brewster star In "Let's Talk About Sex." Let's Talk About ;Sex * At Showcase from the shj- low characters' lives and cannot cry with them when they are mourning men that have come and gone, , as well as other problems they must confront. Additionally, problems are invented along the way without any foreshadow- Instead, the movie turns into a soap opera full of cheesy emotional breakdowns and acting fit for Melrose Place. For example, in the middle of the movie, Michelle is suddenly confronting her unaffec- tionate mother about their own rela- tionship while the audience has never even heard about any issues of that nature. Later, the audience is subjected to another of Michelle's breakdowns regarding her fear of intimacy. These are all surprises to the audience since there is literally no consistent story line or sincere character to grasp onto. Interspersed between the trials of these shallow characters, flashy doc- umentary footage of random women discussing issues such as their likes and dislikes of men, faking orgasms and bad pick-up lines flaunt the screen. But most explicitly of all, the women are asked to demonstrate preferred sexual tactics for the cam- era. "Let's Talk About Sex" becomes eye candy for those interested in women humping chairs and oh-so- nonchalantly masturbating in front of the camera. Before horny males (and females) jump at the opportuni- ty, let them not be so excited, know- ing that after this scene, of the five people in the theater on opening night, two of them walked out. Meyer, who also wrote the film "B.A.P.S." that starred Halle Berry, fails miserably at both exhibiting her writing skills and directing a feature film. This is not to say that the actual "Waiting to Exhale" wannabe con- cept of the movie wasn't good, but more creativity in plot formation and character development could have made the movie a better emo- tional exploration into what women want from men, sparing the audience an extra-long episode of Melrose Place. Although more you-go-girl scenes would have given the characters strength to deal with their own relaL tionships, the acting is still there to play the anchor of an already sinking ship. "Let's Talk About Sex" does not function effectively because of iti choppy plot strung together by hack- neyed characters that' cannot act. Instead of spending seven dollars on seeing this horrible excuse for a movie, stay home with your bost friends and have a bonding session of your own. ing or solid foundation. This pro- duces a choppy story line that can't possibly involve the audience because is isn't built up throughout the movie. htt://ww~e~cmia.edu r5 Study Abroad Visiting Students Summer Session For Study Abroad: (212) 854-2559 e-mail: Aud Awan umba.edu For other programs: (212) 854-2820 I e-mail: Study Abroad * Cohmbia University in Paris * Berlin Consorftim for German Studies "7Siune r Proain in taly (Scandiano) " Smmer Program in Being. Visiting Stdernts If you need more reasons to be in New' York, C(hnhbia University cnprovide them! Summer Session '99 You just missed our best summer ever-but it's not too early to plan for 1999! Bulletin available February '99-reserve yours today. i_ Continuing Education & Special Progms . .. ..... .. Missed * our first mass meeting? * That's OK! There's * still another. 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