Tag Archives: memoir

‘No Dancing in the Lift: A Memoir’ by Mandy Sayer

2025, 227 p.

I feel a bit as if I’ve come half-way into a conversation with this book, because this memoir by Mandy Sayer is in fact her fourth (no fear of an unexamined life, here). But although it is discussing her life, it is more a love letter to her father, Gerry, addressed to him in the second person.

At my age, one attends an increasing number of funerals. I’ve often been struck by the practice in giving eulogies where the deceased person is addressed as “you”, as if they are present and listening. This is how Sayer speaks to her father, as she revisits their shared life and describes the last months of his life as she visits him daily as he moves between hospice care and her own apartment.

Her father had not been a constant presence in her life. Her parents, Gerry and Betty, separated when she was ten years old. It was an erratic, bohemian, drug-and-alcohol fuelled upbringing, and when she went to live with her mother, along with her siblings Lisa and Gene, her mother subsided further into alcoholism and toxic relationships. There were reconciliations, and further falling aparts. Her father came back into her life when, at the age of 20 she travelled with him to the United States to busk on the streets and parks of New York City, New Orleans and Colorado, he on drum, she tap-dancing. Now, in No Dancing in the Lift her own marriage has ended and she is a published author circulating in the literary scene in Sydney, and her father is dying of cancer.

Her father had been a noted jazz drummer in Sydney, playing with both local and international acts. He had a cleft lip and palate, which affected his speech badly. As I have a cleft myself, I was interested to see the child’s-eye view of the parent’s condition. It was accepted completely, and she knew that he had spent years at Westmead Children’s Hospital having surgery. (Actually, having experienced it myself, I know that surgery was more a recurrent than ongoing event, often with years in between surgeries- although it might not have been remembered that way). At one stage, her father falls asleep open-mouthed, and for the first time, she could see into his mouth and was appalled to see how incompletely the palate had been repaired.

As her father’s cancer progresses, he becomes hostile and belligerent, although this subsides after further health conditions emerge. Her siblings, having survived the same childhood that she did, are troubled people as well: either distant in the case of her sister, or manipulative in the case of her brother. Both parents had embarked on complicated relationships after the marriage breakup, and as Gerry becomes sicker, people and situations emerge from his past. But fellow musicians and writers emerge as well, and the reefers and drinks flow in what must have seemed a racketty lifestyle in the midst of the inflexibility and judgement of hospitals and institutions.

In the midst of this, Sayer meets fellow author Louis Nowra, who was married at the time and their relationship deepens from initial attraction, to a chaste and tentative friendship, then to a full-blown love affair, observed and encouraged by her father Gerry. Death and love, both becoming stronger at the same time: it is a confronting, and yet in many ways, perfectly natural conjunction.

She has not changed names in this book, and so you meet authors Louis Nowra and Linda Jaivan, musician Jeff Duff, and actors Geoffrey Rush and Cate Blanchett move in and out of the pages. It is an intensely local book, with the landscapes of Sydney and Darlinghurst described evocatively.

From the start of the book, you know as a reader how the book is going to end. What did surprise me was that these events took place twenty five years ago, as the rawness and the hollowness seemed so recent. Although I shouldn’t really be surprised because, as the child, you are always the child. Although, as she says, her father has taught her how to grow old- and in his case, unrepentantly and without necessarily growing up.

My rating: 8.5/10

Sourced from: review copy from Transit Lounge, via Scott Eathorne.

‘Unorthodox’ by Deborah Feldman

2020 (originally 2014) 256 p.

I recently watched the Netflix series based on this book, and instantly wanted to read the memoir on which it was based. My curiosity was piqued by a comment in the ‘Making of’ documentary, also on Netflix, that they had changed the modern day part in the television series because the author is still a young living, working, active writer in Germany, and they didn’t want the series to affect her present-day life. When I was about 7/8 of the way through the book, and she was still in New York, I realized that the book and the series were quite different.

Deborah Feldman was raised by her grandparents in Williamsburg, Brooklyn. Her family was part of the Satmar sect of Hasidic Judaism, a sect with Hungarian roots that had been very much shaped by the Holocaust. Believing that God had allowed the Holocaust as punishment for assimilation and Zionism, the group embraced extreme conservatism in custom, dress and language, speaking only Yiddish. Her father, who was largely estranged from his daughter, seemed rather intellectually and socially challenged, and her mother had deserted the sect while Deborah was small. Although her aunts, particularly Aunt Chaya, have an influence on her upbringing and prospects, it is actually her grandmother Bubby and grandfather Zeidy, who bring her up in a loving but strict environment, where family and religion are paramount. Being brought up by elderly grandparents gives her freedoms that she would not have had in a family of siblings: she is well-educated for a Satmar girl, and she becomes an inveterate reader. As she approaches womanhood, the family orchestrates her arranged-marriage to Eli, a man equally in thrall to his own family and religion. Although Eli is in many ways more liberal than some other men, he can veer between domination and permissiveness, and when they cannot consummate their marriage, they are both under pressure from each other and their families.

There are some important differences between the book and the television series. In the book, her liberation comes not through music but through surreptitiously attending higher education, and it occurs in America, not in Germany. She leaves after she has her child, not before; indeed it is her desire to protect her son from the misogyny and strictures of Hasidic Judaism that impels her to leave her husband who, initially at least, seems just as happy to have the marriage fail as she is. She is largely silent about the custody arrangements for their son, Yitzy.

The memoir (i.e. book) was written in 2012, when she was still in the midst of act of leaving. The entire memoir is written in the present tense, but the present becomes closer and closer. As a result, the pacing of the book moves from fairly slow reflection and narrative, to a present-day rush of emotion. Because it is a memoir, the narrative is shaped completely by her viewpoint and her own flaws and strengths. (An interesting critical review of the book by another Satmar woman who also left the community can be found here.) Is it a well-written memoir? Possibly not: there is no overarching theme, beyond that of grievance and longing for freedom, perhaps. For a memoir, it has a lot of dialogue which tips it into some other genre.

Nonetheless, I found this memoir fascinating, and hard to put down. Part of that stems from my curiosity about Hasidic Judaism, particularly within enclaves like in Williamsburg. (There’s an interesting photo-essay about Williamsburg here). Yes, I have borrowed her sequel as well, a recent retelling of her 2014 follow-up Exodus.

My rating: 8/10

Sourced from: Yarra Plenty Regional Library

Read because: I enjoyed the Netflix series.