Monthly Archives: April 2016

Dear Roz Chast,

617lsz642XL._AA160_Roz chastDear Roz Chast,

Thank you for your memoir Can’t we talk about something more PLEASANT? After years of savoring your cartoons in The New Yorker I expected to be captivated by the story your visuals tell in this book, and I was. But it wasn’t only your cartoons that I enjoyed. I was equally engrossed in the story you share in parallel with your illustrations written in your straightforward prose. While you draw for your readers what was going on in the lives of your aging parents, you also offer in plain words the perspective of their harried caregiver-daughter.

Unlike Atul Gawande, our go-to guru for advice on how to benevolently shepherd our loved ones through their final years, months, and days, you’re not a doctor. Nor are you a clergy person, a social worker, or a shrink. You’re a working artist and writer who is also a mom and wife. And an only child.  As such, you speak and draw for many of us. Like your parents, mine were often difficult and determined to survive their deaths. I too was a working mom and wife. Then, suddenly, I was a widow. And always, I was an only child. The only time I ever wished I had siblings was during the decade of my parents’ declines and deaths.

So I wasn’t surprised to meet your parents returning from the grave on the same page as the Table of Contents of your memoir. In the cartoon you have drawn, your dad is nervous about the column of titled chapters to his left. The hand he points at them trembles. It also extends beyond the frame of the panel, as if to remind us of the link between him and you. This link that was once a bond of flesh is now a figment of your memory and imagination and as such is immortalized in this book. It is here, thanks to you, that he lives on. Your mom too. Her bossiness is untamed by death and right there beside the Table of Contents they quibble their way towards a cup of tea made from a used teabag that has also survived their passing.tea-cup-23197179Roz chast

I know you have a wicked sense of humor that feeds on our foibles, frustrations, and fears. I also know that those of us who have spent as little as an hour taking care of aging parents know that there is much fodder for the satirist in this work. So I’m not surprised at how you make me smile at your mom’s proclivity for hoarding and your dad’s numerous phobias and even at the cloud of dread you draw above your own head when you hear your dad answer the phone instead of your mom.

Because you share your own take on this experience, your memoir is a record of a passage in the lives of two generations. And you document these journeys not only with your familiar cartoon drawings, but with family photos, including one of you at eleven. This picture, on page 122, is right across from cartoon versions of yourself and this juxtaposition gave this reader insight into the relationship between your drawings and the reality they spring from. Again your willingness to share your inspiration makes me trust your take on your own perilous passage through this time in your own life.

Although your journey, like that of your mom and dad, is perilous it is also not without lessons and laughs. As you escort us through your disposal of your parents’ overwhelming accumulation of stuff, you explain that this experience itself was “transformative” for you and that once we have gone through it, we will view our own stuff differently, “postmortemistically.” The objects in the brightly colored photographs of what your parents saved are both familiar and funny. These pictures document your assertion that your parents, like mine, had a hard time getting rid of things. After seeing their old sunglasses, purses, razors and other “treasures,” I began to look at my own collection of little china shoes and unopened gauze pads from the hospital more critically. As I mentioned, I’m in awe of your ability to make me laugh at your depiction of life’s least enjoyable moments, but I’m not surprised.Roz chast gauze padsil_570xN.741830684_Roz chast

Roz chast momWhat did surprise me and made this book especially meaningful to me is your ability to share your ambivalent feelings about your mom. For many the word family conjures up an almost sacred institution. And what kind of monster doesn’t love her mom, right? No matter what. So your acknowledgement of your lifelong struggle to bond with your mother is daring yet familiar and welcome. Even after she has died, you tell us that you’re “still working things out” with her and, to me, still embarked on a similar project, this book seems part of that effort.

The page titled “The Last Things” details first your attempts to liberate this terminally ill, institutionalized, and sedated very old woman, to let her know it’s okay for her to “go.” You tell her she should feel free to join her dead husband and brothers and that she’ll be taking a trip soon. Each of these clichés is illustrated by a hilarious image showing that suggestion’s absurdity. With a hospice worker’s okay you share with your mother your concerns about her running out of money because she has lived so long. You’re astonished when she cries out for her Papa, perhaps still troubled by not having loved him as much as she loved her Mama. In your last conversation with your mother, a week before she dies, you both acknowledge out loud in words your love for one another.

This same page, “The Last Things” with its nine brightly colored panels contrasts with the black and white page of text opposite detailing in no-nonsense words your mother’s body’s decay and her death. I so appreciate that all the text in this book appears in your familiar but easy to follow printing. By doing this you link the words of the “characters” in your cartoons with your words and, in this instance, it is your words that reveal the starkness of bodily decomposition and death. You animate your final bedside vigil by sketching portraits of your mom.  These are not cartoons. No, these black lines on beige are unsparing yet strangely beautiful. With no balloon of words erupting from her mouth, your dying mom appears both grim and defenseless and also utterly real.

The Chasts are Jewish although not noticeably observant. But it is, I believe, a Jewish contention that the dead live on only in the minds jewish_gravestone_wide-30f27c03a6f2bbd73536ea7e20993bf725a43408-s6-c30 roz chastand hearts of those who come after us. We live on as memories. So George and Elizabeth Chast survive in their daughter’s memory and now, in the memories of those of us with whom you have honestly and brilliantly shared their story and your own.


Jane Isenberg


Filed under American classic, Humorous fiction, Jewish fiction, Uncategorized