
I don’t know about you, but I find the memoir in general a tough nut to crack. I’ll admit it’s not my favorite genre to read. As a fiction writer, I’m an escapist–I admit that too–always seeking new opportunities to inhabit the lives of fictional others.
The memoir also poses challenges for the reviewer: how to best critique a plotting of events in a life that really happened; how to critique a cast of characters who are actual people?
Then there are my own personal memoir hang-ups, which say much more about my issues–as a “good girl” raised on Rust Belt values (more on that later)–than the genre’s. As in:
- Talking (or writing) about oneself is evidence of vanity.
- Talking about one’s successes is risky business, as in you don’t want to jinx yourself.
- Talking about one’s trials only invites more trials, as in, you think you’ve had it bad, I’ll show you bad; also as in, good girls bear their crosses with (quiet) grace or suffer the consequences.
Amy Jo Burns knows a lot about grace–and about suffering–and she has written a graceful memoir, one I can’t quite review but find myself drawn to write about.





The soundtrack to my adolescence and young adulthood in Northeast Ohio was unusual. While my peers were listening to Depeche Mode on the radio or catching a live show at the Grog Shop, I was in the ballet studio. While my high school classmates listened to the CHS band before Friday night football, I was in the ballet studio. Dancing to Miss Jackson (nasty or not) in the Burger King parking lot? Me? Not unless that parking lot had ballet barres and wrap-around mirrors.
American Rust by Philipp Meyer, reviewed.