Golem girl: a memoir

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The vividly told, gloriously illustrated memoir of an artist born with disabilities who searches for freedom and connection in a society afraid of strange bodiesGolem Girl is luminous; a profound portrait of the artist as a young—and mature—woman; an unflinching social history of disability over the last six decades; and a hymn to life, love, family, and spirit.”—David Mitchell, author of Cloud AtlasWINNER OF THE BARBELLION PRIZE • FINALIST FOR THE NATIONAL BOOK CRITICS CIRCLE AWARD FOR AUTOBIOGRAPHY • NAMED ONE OF THE BEST BOOKS OF THE YEAR BY KIRKUS REVIEWSWhat do we sacrifice in the pursuit of normalcy? And what becomes possible when we embrace monstrosity? Can we envision a world that sees impossible creatures?In 1958, amongst the children born with spina bifida is Riva Lehrer. At the time, most such children are not expected to survive. Her parents and doctors are determined to "fix" her, sending the message over and over again that she is broken. That she will never have a job, a romantic relationship, or an independent life. Enduring countless medical interventions, Riva tries her best to be a good girl and a good patient in the quest to be cured.Everything changes when, as an adult, Riva is invited to join a group of artists, writers, and performers who are building Disability Culture. Their work is daring, edgy, funny, and dark—it rejects tropes that define disabled people as pathetic, frightening, or worthless. They insist that disability is an opportunity for creativity and resistance. Emboldened, Riva asks if she can paint their portraits—inventing an intimate and collaborative process that will transform the way she sees herself, others, and the world. Each portrait story begins to transform the myths she’s been told her whole life about her body, her sexuality, and other measures of normal.Written with the vivid, cinematic prose of a visual artist, and the love and playfulness that defines all of Riva's work, Golem Girl is an extraordinary story of tenacity and creativity. With the author's magnificent portraits featured throughout, this memoir invites us to stretch ourselves toward a world where bodies flow between all possible forms of what it is to be human.“Not your typical memoir about ‘what it’s like to be disabled in a non-disabled world’ . . . Lehrer tells her stories about becoming the monster she was always meant to be: glorious, defiant, unbound, and voracious. Read it!”—Alice Wong, founder and director, Disability Visibility Project 

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Contributors
Campbell, Cassandra Narrator
Lehrer, Riva Narrator, Author
ISBN
9781984820303
9780593207765
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Published Reviews

Booklist Review

In the Jewish tradition, a golem is a clay figure brought mystically to life, as when Rabbi Judah Loew ben Bezalel's golem defended the Jewish population against anti-Semitic attacks in sixteenth-century Prague. As a girl, artist, writer, and disability activist Lehrer, born with spina bifida (an incomplete closing of the spine), imagined herself as following in a long line of golem-like figures, from the Bride of Frankenstein to Gollum of Tolkien fame. Lehrer describes at length her countless surgeries, ongoing struggles with the condition, and the toll it takes on both her physical and emotional life. She also writes about her complicated relationship with her mother, who had her own serious health issues which Lehrer had to contend with when she was still a "half-formed" youth. For Lehrer, the typical rites of passage into adulthood were inevitably fraught with tension and anxiety, including navigating relationships with both men and women. When attending what was then the Randall J. Condon School for Crippled Children in Cincinnati, she felt accepted; but once she left its safe confines, she was considered a freak. It is a topic she returns to often in this sometimes disturbing but often darkly humorous memoir illustrated with Lehrer's artwork, a chronicle of a free spirit who finds solace and purpose in creating art that represents the socially challenged body.

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Publisher's Weekly Review

Painter Lehrer applies the same unflinching gaze for which her portraits are known to a lifetime with spina bifida in this trenchant debut memoir of disability and queer culture. Born in 1958, Lehrer was among the first to benefit from a surgical breakthrough that enabled doctors to save the lives of newborns with her condition. In the book's first half, Lehrer recounts finding uninhibited joy with other disabled children at Cincinnati's Condon School, as well as some unnecessary and ultimately harmful medical procedures she endured. At 21 and living in Chicago, she discovered an exuberant sexuality--one she believed wasn't possible for her--and grappled with feeling marginalized due to her queerness. The book's second half, however, loses some of the intimacy as Lehrer adopts a more didactic tone to describe a succession of relationships and document the rise of her career as an artist and the way her work explores the intersections of gender, sexuality, and disability (she includes photos and her own illustrations throughout). Lehrer notes that "international debates (such as those in Belgium and the Netherlands) persist over whether to treat infants like me at all," and observes that "disability is the great billboard of human truth.... Add it to any discourse, and we can see what humanity truly values." Readers will be sucked into Lehrer's powerful memoir. (Oct.)

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Kirkus Book Review

An artist born with spina bifida shares her story and her paintings with grace and humor. "What's wrong with her?" As a child, writes Lehrer, when a stranger would callously ask that question, "to my dismay, Mom would provide all they'd need to win the vacation package and the new Cadillac. She laid out the details of spina bifida, its causes and effects, as if deputizing a city-wide cadre in case I had to be rushed to an emergency room. For me, this kind of visibility was like being scraped along the sidewalk." Lehrer, whose paintings of what she calls "socially challenged bod[ies]" hang in the National Portrait Gallery of the Smithsonian and many other museums, narrates her difficult childhood with an eloquence and freedom from self-pity that are every bit as powerful as those of Lucy Grealy in her Autobiography of a Face (1994). Remarkably, Lehrer, now 62, found a way to survive endless surgeries (many of them completely bungled) and irremediable pain to create a successful life--one that readers will relish learning about. Her evolving self-awareness as an artist, a disabled person, and a woman with a complicated sexuality are well-explored, and her prose ranges from light and entertaining to intellectually and emotionally serious--and always memorable. In explaining a period when she took up painting beds, she writes, "Beds are crossroads, where impairment and sexuality intersect, the mattress a palimpsest of ecstasy and hurt." The memoir is illustrated with photographs of family and friends and color images of Lehrer's paintings. In an appendix--a bonus book within the book--she goes back to each of the portraits and shares anecdotes about her process and her interaction with the subject, often including that person's own account. In one of her series, The Risk Pictures, Lehrer leaves the subject alone with the canvas for an hour and instructs them to alter it however they want. An extraordinary memoir suffused with generosity, consistent insight, and striking artwork. Copyright (c) Kirkus Reviews, used with permission.

Copyright (c) Kirkus Reviews, used with permission.
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Booklist Reviews

*Starred Review* In the Jewish tradition, a golem is a clay figure brought mystically to life, as when Rabbi Judah Loew ben Bezalel's golem defended the Jewish population against anti-Semitic attacks in sixteenth-century Prague. As a girl, artist, writer, and disability activist Lehrer, born with spina bifida (an incomplete closing of the spine), imagined herself as following in a long line of golem-like figures, from the Bride of Frankenstein to Gollum of Tolkien fame. Lehrer describes at length her countless surgeries, ongoing struggles with the condition, and the toll it takes on both her physical and emotional life. She also writes about her complicated relationship with her mother, who had her own serious health issues which Lehrer had to contend with when she was still a "half-formed" youth. For Lehrer, the typical rites of passage into adulthood were inevitably fraught with tension and anxiety, including navigating relationships with both men and women. When attending what was then the Randall J. Condon School for Crippled Children in Cincinnati, she felt accepted; but once she left its safe confines, she was considered a freak. It is a topic she returns to often in this sometimes disturbing but often darkly humorous memoir illustrated with Lehrer's artwork, a chronicle of a free spirit who finds solace and purpose in creating art that represents the socially challenged body. Copyright 2020 Booklist Reviews.

Copyright 2020 Booklist Reviews.
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Publishers Weekly Reviews

Painter Lehrer applies the same unflinching gaze for which her portraits are known to a lifetime with spina bifida in this trenchant debut memoir of disability and queer culture. Born in 1958, Lehrer was among the first to benefit from a surgical breakthrough that enabled doctors to save the lives of newborns with her condition. In the book's first half, Lehrer recounts finding uninhibited joy with other disabled children at Cincinnati's Condon School, as well as some unnecessary and ultimately harmful medical procedures she endured. At 21 and living in Chicago, she discovered an exuberant sexuality—one she believed wasn't possible for her—and grappled with feeling marginalized due to her queerness. The book's second half, however, loses some of the intimacy as Lehrer adopts a more didactic tone to describe a succession of relationships and document the rise of her career as an artist and the way her work explores the intersections of gender, sexuality, and disability (she includes photos and her own illustrations throughout). Lehrer notes that "international debates (such as those in Belgium and the Netherlands) persist over whether to treat infants like me at all," and observes that "disability is the great billboard of human truth.... Add it to any discourse, and we can see what humanity truly values." Readers will be sucked into Lehrer's powerful memoir. (Oct.)

Copyright 2020 Publishers Weekly.

Copyright 2020 Publishers Weekly.
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