Manhood for Amateurs: The Pleasures and Regrets of a Husband, Father, and Son, essays by Michael Chabon
The trope of fatherly wisdom, borne of experience and dispensed with measured calm, is a wonderful thing, but how realistic it? There are some great memoirs about fathers. Alysia Abbott’s Fairyland and Will Boast’s Epilogue come to mind, narratives in which fathers run the spectrum, from brave to flawed and back again.
Rarer is the memoir that reflects on what being a father is actually like, and for that matter, how men come to be fathers after being sons and boyfriends and husbands. Chabon’s collection is not a memoir exactly, but a series of essays grouped thematically around personal and cultural ideas and behaviors connected to fatherhood, as well as nostalgia for sixties childhood and seventies youth, serves as an account of the flaws and failures that influence how one fathers his children. There are essays too, on boyhood, and boyfriend-hood, which indirectly, and sometimes directly speak to that same self, to the complex mix of parenting and maleness.
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“Anything worth doing is worth doing badly.” The book’s epigraph by G.K. Chesterton forefronts the deprecating stance, but Chabon has more to tell us. At the supermarket, he is complemented by a stranger simply for taking care of his kid, a double standard he quickly points out (to the reader, anyway), “The handy thing about being a father is that the historical standard is so pitifully low.” The differing criteria for what makes a good father and a good mother is skewed, to say the least, and pointing it out early in the book lends authority, credibility and likeability. Here’s Chabon on his own father:
My father, born in the gray-and-silver Movietone year of 1938, was part of the generation of Americans who, in their twenties and thirties, approached the concepts of intimacy, of authenticity and open emotion, with a certain tentative abruptness, like people used to automatic transmission learning how to drive a stick shift.
One of my favorite essays, “The Wilderness of Childhood,” is unabashedly nostalgic, but also serves an a kind of think-piece on the detriment of too closely watching our children, denying the historical freedom children have always had to explore, to wander, and on the cost to their with imaginations and experience of self:
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The sandlots and creek beds, the alleys and woodlands have been abandoned in favor of a system of reservations—Chuck E. Cheese, the Jungle, the Discovery Zone; jolly internment centers mapped and planned by adults with no blank spots aside from doors marked STAFF ONLY. When children roller-skate or ride their bikes, they go forth armored as for battle, and their parents typically stand nearby.
There is rumination on the failure of his first marriage (“The Heartbreak Kid”), a sad but inevitable arc that ends in “operatic arguments, all night ransackings of the contents of our souls,” as well as on cooking, (“The Art of Cake”), that nicely braids the book’s larger ideas of contemporary fatherhood and its “dissolving boundaries, shifting economies, loosened definitions of male and female, of parent and child.” Circumcision, Jose Canseco (held up for reflection alongside Roberto Clemente), comic book heroines and Legos, are some of the objects of the author’s contemplation.
As these facets of fatherhood accumulate, we understand Chabon is not a perfect father, but that, the essays help us understand, is a false expectation—one that needs to evolve and change.