The Odd Kid On the Block

Whatever happened to the Odd Kid on your block?  Everybody grew up with at least one; I’m talking about those kids who seem to be born outsiders, who say and do unpredictable things and never fit in well with the rest. The kids that even surprise the adults when they talk. You know the ones I mean.  And if you don’t have one of these kids in your memory, you might have been the class misfit. God knows I was one.

So what? I can verify that most of us card-carrying weirdos eventually discover friends of our own.  We become reasonably functional adults.  But time has stood still for Eleanor Oliphant.  At thirty, she’s still the Odd Kid on The Block, although now she’s an Oddball at Work.  She doesn’t have any friends (unless you count Vodka and Mummy). And, despite the title of Gayle Honeyman’s brilliant first novel, Eleanor Oliphant is NOT Completely Fine,

Stuck in a Rut

Eleanor is, if anything, stuck in a rut, one she’s carefully constructed.  Every morning, she dons black pants, white shirt.  She does (and eats) the same thing each day on her lunch break.  Eleanor always takes the same bus.  She talks to Mummy on the same day of every week and drinks from Friday night until well into Sunday.  Part of this is a habit, but part is how Eleanor copes with the world, a place that has rarely been kind.  She’s constructed routines for protection.  But even Eleanor doesn’t realize all the things she’s hiding from or how much good there is in life to uncover.  And it’s a joy to discover it with her.

No Filter/No-Nonsense Girl

Listening to Eleanor describe her own life is by turn hilarious or incredibly painful as she is the original No-Filter-Girl.  She describes some horrors from her past with such emotional detachment that you wonder what ails the poor girl.  Anyone else recounting this kind of personal experience would be sobbing all over themselves.  But Eleanor reports her history with such matter-of-fact acceptance that many readers debate whether her response is due to Autism or the profound abuse she’s endured.  Whatever the reason, we become mesmerized by her voice.

For Eleanor does have a voice, stunningly original and perceptive about the human condition. “These days, loneliness is the new Cancer” she observes, “a shameful, embarrassing thing.” And for all of her independence, Eleanor is a lonely woman.  But the story of how this unusual woman starts breaking her self-imposed isolation is the hit of the year.  Eleanor can make you laugh and cry but most of all she makes you glad you’ve found her. Eleanor Oliphant may be the Odd Kid on the Block but she’s also a good person and friend.[amazon_link asins=’0735220697′ template=’ProductCarousel’ store=’theboothafoly-20′ marketplace=’US’ link_id=’3c60ca62-b6fc-11e8-a77d-077d29570ab2′]

 

Remembrance of Playwright Past

Everyone remembers people and events that shaped and changed their lives.  Long after they leave the world’s stage, these individuals and events inform and direct us through memory.  That’s how I feel about Neil Simon’s plays; they are touchstones from my childhood. That’s reasonable: when I was young he was the King of Broadway. His movies set some of my first standards for comedy.  But, that was a long time ago and Mr. Simon hasn’t had a hit play in years. So, I’ve been reading plays by other authors.  Still, when I heard of his death, I did something I haven’t done for a while: I read something Neil Simon wrote.  Not his plays this time, but his memoirs.  And I’m still thinking about what I read.

Rewrites

Rewrites is Simon’s memoir of the first half of his life, and to some extent, it’s like his early plays.  This book covered his early, energetic years as a writer when hope was built on promise and potential.  The book is a charmer, and it confirmed two things I guessed but didn’t know before.  First, Simon’s stories all have strong autobiographical elements and that the art of plays is in the re-writing.

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According to Mr. Simon, the tradition of opening a new play out of town is part of the alchemy that creates a show.  Responses from Out-of-town audiences tell the cast and creative team what works and doesn’t work in the show.  And Simon rewrote the show after each early performance making the show tighter and funnier. Like Moss Hart’s Act One, Rewrites is a master-class in the art of playwrighting as well as a glimpse of American Theatre in the 60’s and 70’s.  But it’s also the story of a young, hopeful man

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The Marrying Man

In “The Play Goes On”, Simon’s sequel to “Rewrites”, one thing becomes clear:  Mr. Simon never escaped from his past.  After a childhood in an insecure, chaotic family, he tried to create a different life as an adult. Still, he never trusted the good times when they came.  And the early death of his first wife left a man who wanted to love again but couldn’t keep her ghost from haunting his later relationships.  It’s not surprising Simon remarried four more times.  It’s sad how his pursuit of happiness was often undermined by remembered joy.  This is the mature, tempered Neil Simon, less charming, less hopeful, a bit more self-serving. But whatever his shortcomings, the man possessed a work ethic and talent. And those things are why he’s remembered.

The Constant Writer

Celebrated or panned, joyful or depressed, married or single, Neil Simon remained one thing: a constant writer.  For more than 50 years he churned out at least that many plays and screenplays (as well as these Memoirs). His quick-fire wit and urban “comedy-dramedy” forms are imitated today.  And, if some of his jokes became horribly dated or if his last plays were less hit than miss, he still taught us a lot.   Simon wielded humor as a weapon as well as a shield and he showed us that, even in the middle of the worst time of your life, the right joke can still keep you going. And Laughter will help you prevail. Now, that’s a memory worth keeping.

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