Beth Kephart is the award-winning author of more than two-dozen books, an adjunct teacher at the University of Pennsylvania, and a co-founder of Juncture Workshops, which offers memoir resources and teaching. Her first memoir in many years, Wife|Daughter|Self, is due out from Forest Avenue Press in early 2021. More at bethkephartbooks.com.

 

 

 

 

THE WAY THROUGH THE WOODS: ON MUSHROOMS AND MOURNING, a memoir by Long Litt Woon, reviewed by Beth Kephart

Cover art for The Way Through the Woods
THE WAY THROUGH THE WOODS: ON MUSHROOMS AND MOURNING by Long Litt Woon translated from the Norwegian by Barbara J. Haveland Spiegel & Grau, 292 pages reviewed by Beth Kephart When I read memoir I want: something to crack and something to rise, something to arc and something to stream, something to move across the page and, as it does, to move me. I bought Long Litt Woon’s The Way Through the Woods: On Mushrooms and Mourning for the promise embedded in the premise. How would Woon make her way back into the world after the shocking, sudden death of the fifty-four-year-old husband with whom she had spent all her adult years? What do mushrooms have to do with recovering from such a loss? Does anybody ever actually recover? Woon, who moved to Norway from Malaysia as an exchange student at the age of eighteen and stayed because of her love for her husband, Eiolf, is not, as it turns out, interested in the literary fissures and expansions and movements that generally interest me. Her prose, as translated by Barbara J. Haveland, is determinedly straightforward, lavishly undecorated, direct and directly to the point. Her structure is neither chronological nor intuitive ...
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ART CAN HELP, essays by Robert Adams, reviewed by Beth Kephart

Art Can Help Book Jacket
ART CAN HELP by Robert Adams Yale University Art Gallery, distributed by Yale University Press, 88 pages reviewed by Beth Kephart  “[I]f you begin with an idea you’re usually beat before you start,” writes Robert Adams in Art Can Help, as he tries to imagine Edward Ranney photographing the Canyon del Muerto, and, so, here I begin, having been holding this slender silver volume in my hand all afternoon, interrupted only by the sound of a neighbor’s lawn mower and the smell of some ambient spray paint. (A long sentence, a beginning.) The book marks Adams’ attempt to dissuade his readers from Jeff Koons-style glitz, which is to say “imitations that distract us or, openly or by implication, ridicule hope.” We are reminded of the power of art, Adams suggests, by studying art that is real. The work of Edward Hopper is here in these pages, as are the images of Eugene Buechel, Ken Abbott, Julia Margaret Cameron, Dorothea Lange, and others, but if you are already concluding that this is a book of pictures and captions, you’d be wrong. This is a book of eclectic wisdoms and collegial awe. “I am asked with surprising frequency, ‘How do you know ...
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THE ADVENTURES OF PINOCCHIO, a novel by Carlo Collodi, reviewed by Beth Kephart

THE ADVENTURES OF PINOCCHIO,  a novel by Carlo Collodi, reviewed by Beth Kephart
THE ADVENTURES OF PINOCCHIO by Carlo Collodi illustrated by Attilio Mussino translated by Carol Della Chi MacMillan (1926), 401 pages reviewed by Beth Kephart The Oldest, The Newer, and the Four Pinocchios The Pinocchio in the book on my lap is not the persistently gullible feather-in-his-cap Disney version with the Jimmy Cricket conscience and the wish-upon-a-star existence. My Pinocchio—La storia di un burattino—comes from the mastermind himself, the Italian serialist Carlo Collodi, born Carlo Lorenzimi, who didn’t start writing for children until late in life. He’d been in the seminary as a young man. He’d volunteered in the Tuscan army. He’d written satire, translated fairytales, and by the 1880s, it would seem, he was primed for his most memorable creation. You don’t have to stretch to note the parallels that dominate our news cycle. Donald J. Trump was prefigured more than 130 years ago.  If Disney’s Pinocchio is an affable, pliable ingénue who was reconfigured, according to the lore, to look more like a boy than a puppet, Collodi’s is an anti-hero—a wooden thing with barely any ears who mostly can’t see beyond his own nose, no matter its current proportion. He is persistent, insistent, impossible, exasperating, willfully obtuse, a ...
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THE JUNCTURE INTERVIEW Beth Kephart and Bill Sulit Interview Each Other

juncture03
THE JUNCTURE INTERVIEW by Beth Kephart For many years, my husband, William Sulit, and I have collaborated on projects for corporate America—annual reports, commemorative books, employee magazines. When corporate America changed—when the cultures shifted, the ideals, the relationships—we began to explore a new idea, a company we could create and manage as our own, a company through which we could define the quality of the product and the nature of the conversation. We have called that company Juncture Workshops. Through it we offer memoir retreats, a monthly newsletter, and video essays that showcase the work of memoir masters and offer ideas and prompts. As with most things, of course, it all sounds easier than it has been. Here we provide a behind-the-scenes look at our memoir-steeped lives, post video production. ◊ STORY: They would need a teleprompter. They would need a script. They would need umbrella lights, an iPhone mic, a steady camera, an army of tripods. They would call this thing that they had made their Juncture memoir shorts (and here those things are: www.udemy.com/the-stories-of-our-lives/learn/v4/overview). Lessons on writer’s block. Lessons on illness. Lessons on time, or nature writing, or the kitchen. They would twine Mary-Louise Parker and James Baldwin, Abigail ...
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THIS IS THE STORY OF YOU, a young adult novel by Beth Kephart, reviewed by Rachael Tague

THIS IS THE STORY OF YOU, a young adult novel by Beth Kephart, reviewed by Rachael Tague
THIS IS THE STORY OF YOU by Beth Kephart Chronicle Books, 256 pages reviewed by Rachael Tague When I sat down to read Beth Kephart’s newest novel, This Is the Story of You, its title and cover art caught my attention—personal, serene, then chaotic. I read the first line of chapter one—Blue, for example—and fell in love with the writing. A quarter of the way through the book, I adored each character, and connected with Mira, the narrator and protagonist. Kephart’s mesmerizing writing, wonderful characters, and themes of strength and endurance thrilled me from beginning to end. Mira Banul is “medium everything—blond, built, smart.” She lives on Haven, where “We were six miles long by one-half mile…We were The Isolates. We were one bridge and a few good rules away from normal. We were causal bohemians, expert scavengers, cool.” Haven, a tiny island on the East coast, is a vacation destination in the summer. At the end of the season, the year-rounders return to their school in a refurbished bank and rule the island after-hours. Mira’s best friends, Eva and Deni, have done everything together for as long as they can remember. They work together, study together, compete together, and ...
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HANDLING THE TRUTH: ON THE WRITING OF MEMOIR by Beth Kephart reviewed by Stephanie Trott

HANDLING THE TRUTH: ON THE WRITING OF MEMOIR by Beth Kephart reviewed by Stephanie Trott
HANDLING THE TRUTH: ON THE WRITING OF MEMOIR by Beth Kephart Gotham Books, 254 pages reviewed by Stephanie Trott It is a rainy Tuesday in January and I lace up the new cherry-red boots before heading out the door of my warm little warren. Through the stone-laden campus, across the slippery streets of town, and onto the train that will take me into the city. I am in my final semester as an undergraduate student at Bryn Mawr College and I still have not learned to buy shoes that fit my feet — I dig into the walk through West Philadelphia, burdening myself with blisters that will not heal until the first flowers have shed their petals to spring. Stumbling onto the porch of the old Victorian manor, I step into the most challenging, inspiring, and rewarding fourteen weeks I’ve yet experienced: I step into Beth Kephart’s Creative Non-Fiction class. Flash forward one and a half years later and I am standing on the back steps of my first apartment, wearing shoes that (finally) fit and hooting jubilantly at the tiny brown box in front of me. I hug the cardboard to myself as though I could absorb the details ...
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DR. RADWAY’S SARSAPARILLA RESOLVENT by Beth Kephart reviewed by Michelle Fost

DR. RADWAY’S SARSAPARILLA RESOLVENT by Beth Kephart reviewed by Michelle Fost
DR. RADWAY’S SARSAPARILLA RESOLVENT by Beth Kephart illustrated by William Sulit New City Community Press, 190 pages Reviewed by Michelle Fost When I lived in Philadelphia, I sensed its history underfoot. One pleasure of Beth Kephart’s lively new historical Philadelphia novel is the strong fit of the writer’s project and the story she tells. In Dr. Radway’s Sarsaparilla Resolvent, Kephart looks at material from the past that we might consider lost to us and demonstrates how traces of that past stay with us through research and writing. In her story of William Quinn in 1870’s Philadelphia, too, much has been lost. As fourteen-year-old William goes in search of what has been taken from his family and as he thinks about what he is missing (including a murdered brother and a father in prison), we see that a great deal of what is loved can be recovered. William internalizes his brother Francis’s voice and can imagine what Francis would say to him at an important moment. Dr. Radway’s Sarsaparilla Resolvent shines as a novel about grief itself, suggesting that in thinking about what we miss, we keep what’s missing alive. Dr. Radway’s Sarsaparilla Resolvent opens with a haunting ...
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WILLIAM SULIT, Chicken Dance

WILLIAM SULIT, Chicken Dance
CHICKEN DANCE by William Sulit & Beth Kephart Digital 3-D Design A conversation between a writer wife and her artist husband, in a quest to understand Important Subject: A chicken BK: You spend hours in your garage studio (among the ghosts of a skinny car, in the shadow of night visitors, within walls yellowed by old fuels) fiddling with electronic pencils and twinned screens, and you come up with ... a chicken? Why a chicken? How did your chicken begin? WS: It began with a sphere about the size of a golf ball. I'm sure electrons are involved but what is really being manipulated are vertices. This chicken was really a way to test 3D printing technology (color and all). No lofty idea—just that as someone who works with 3D "art," I wasn't going to leave that stone unturned. BK: And I thought I had married into lofty. Didn’t you promise me lofty? Okay, then. You began to pull and poke at this thing, began to manipulate these vertices. The computer can’t resist you. There isn’t any tactile feel to this material, no smell, nothing that gets your hands dirty. Do you still consider this art? Because, at the very ...
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SCRABBLE by Beth Kephart

SCRABBLE by Beth Kephart
SCRABBLE by Beth Kephart I said it would be nice (look how simple I made it:  nice) not to be marooned in the blue-black of night with my thoughts, I said the corrugated squares of the downstairs quilt accuse me, I said the sofa pillows are gape-jawed, I said there are fine red hairs in the Pier 1 rug that will dislodge and drown in my lungs, I said I can’t breathe, I said, Please. It wasn’t hard. But you were asleep by then, west to my east, uncorrupted by the plain and the soft of my imagination, the occasional and wire whipped and cruel:  you couldn’t be touched; you wouldn’t stir; you. I broke and I climbed out and I climbed through and I climbed down into the blue black red threads and sat until a fat clack cracked the hollow between the walls and I knew that it was the long-nailed scrabble of a squirrel or the procrastination of the fox or the wolf that is my thoughts. That was the first night after. Beth Kephart is the award-winning author of fourteen books, most recently Small Damages, named to many best-of-year lists.  Three new books are set to be ...
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