SKU: 51710624350

Concealed

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Description

ConcealedEsther Amini grew up in Queens, New York, during the freewheeling 1960s. She also grew up in a Persian Jewish household, the American born daughter of parents who had fled Mashhad, Iran. In Concealed, she tells the story of being caught between these two worlds: the dutiful daughter of tradition bound parents who hungers for more self determination than tradition allows. Exploring the roots of her father's deep silences and explosive temper, her

Esther Amini grew up in Queens, New York, during the freewheeling 1960s. She also grew up in a Persian-Jewish household, the American-born daughter of parents who had fled Mashhad, Iran. In Concealed, she tells the story of being caught between these two worlds: the dutiful daughter of tradition-bound parents who hungers for more self-determination than tradition allows.

Exploring the roots of her father's deep silences and explosive temper, her mother's flamboyance and flights from home, and her own sense of indebtedness to her Iranian-born brothers, Amini uncovers the story of her parents' early years in Mashhad, Iran's holiest Muslim city; the little-known history of Mashhad's underground Jews; the incident that steeled her mother's resolve to leave; and her parents' arduous journey to the U.S., where they faced a new threat to their traditions: the threat of freedom. Determined to protect his daughter from corruption, Amini's father prohibits talk, books, education, and pushes an early Persian marriage instead. Can she resist? Should she? Focused intently on what she stands to gain, Amini comes to see what she also stands to lose: a family and community bound by food, celebrations, sibling escapades, and unexpected acts of devotion by parents to whom she feels invisible.

In this poignant, funny, entertaining, and uplifting memoir, Amini documents with keen eye, quick wit, and warm heart how family members build, buoy, wound, and save one another across generations; how lives are shaped by the demands and burdens of loyalty and legacy; and how she rose to the challenge of deciding what to keep and what to discard.

Praise for Concealed

"In this beautifully crafted memoir, Esther Amini weaves a riveting portrait of her family life as the daughter of Iranian-Jewish immigrants in New York City.... It is a deeply personal tale, painfully honest and brilliantly told."--Susan Mailer, psychoanalyst and author of In Another Place

"Concealed is a heart-wrenching...memoir by the daughter of...Iranian Jews who...never escape the emotional prison of their previous existence. You will cheer for her as you ponder the eternal question: how do we survive our families?"--Sally Koslow, author of Another Side of Paradise

"Concealed is Esther Amini's remarkable account of growing up in a house where books and education are for boys and prearranged marriage is supposed to be her destiny....Lucky for us she grew up to be a writer...who has produced a wonderful memoir." --Patty Dann, author of Mermaids

"A moving, honest and compelling memoir that unveils the little-known world of Persian-Jewish
immigrants in America.... Amini's characters leap off the page right into your heart." --Ronda Spinak, Artistic Director, Jewish Women's Theatre

Esther Amini is a writer, painter, and psychoanalytic psychotherapist in private practice. Her short stories have appeared in Elle, Lilith, Tablet, The Jewish Week, and Proximity. She was awarded Aspen Words' Emerging Writer Fellowship in 2016 based on an early draft of this memoir. Her pieces have been performed by Jewish Women's Theatre, which name her Artist-in-Residence in 2019. Esther Amini lives in New York City with her husband. Concealed is her debut memoir.



Binding Type: Hardcover
Publisher: Greenpoint Press
Published: 04/21/2020
ISBN: 9780990619437
Pages: 310
Weight: 1.34lbs
Size: 9.02h x 5.98w x 0.81d
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SKU: 51710624350

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4.5 ★★★★★
Based on 11 reviews
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Product Reviews
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Rachel S.
Fort Morgan, US
★★★★★ 5
Exquisite, enrapturing
Format: Paperback
Loved the gritty, visceral language and the epic nature of this poem. Notely blows me away -- the loss of memory, the tangled and eternal subway, the owls and masks.
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Reviewed in the United States on May 29, 2014
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Eileen O Malley Callahan
New York, US
★★★★★ 5
Five Stars
Format: Paperback
Brilliant, lucid, engaging and brave, a feminist chthonic journey shimmering with poetic bravado.
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Reviewed in the United States on December 18, 2014
J
JeFF Stumpo
Battle Creek, US
★★★★★ 5
A Feminist Divine Comedy?
Format: Paperback
Let me start with this: The Descent of Alette is difficult to read at first. Notley "puts quotation marks around" "groups of words" "in lines" "that can be off-putting." Note that I'm not quoting from the book there, just giving an example of what the book's text appears like. This forces us to read more slowly, taking in each line a few words at a time. What appears to be awkward is in fact a great solution to the speed-reading most of us do these days. That being said, it's troublesome for the first few poems, less so after that, virtually invisible by the end of the first section. When talking about this book, I immediately compare it to Dante's Divine Comedy, and I commonly see others do the same (see an earlier review here on Amazon.com). Exchange Hell for a subway, and you've basically got it: an underground realm ruled over by a Tyrant, poor souls being tortured, though in this case there is no indication that they have done anything to deserve it. Notley's language might not be quite as beautiful/harsh as Dante's, but her images stand with anything he created. After introducing two characters on a subway, a woman and her baby, both on fire, Notley writes: "another woman" "in uniform" "from above ground" "entered" "the train" "She was fireproof" "she wore gloves, & she" "took" "the baby" "took the baby" "away from the" "mother" "Extracted" "the burning baby" "From the fire" "they made together" "But the baby" "still burned" ("But not yours" "It didn't happen" "to you") "We don't know yet" "if it will" "stop burning," "said the uniformed" "woman" "The burning woman" "was crying" "she made a form" "in her mind" "an imaginary" "form" "to settle" "in her arms where" "the baby" "had been" "We saw her fiery arms" "cradle the air" "She cradled air" ("They take your children" "away" "if you"re on fire") "In the air that" "she cradled" "it seemed to us there" "floated" "a flower-like" "a red flower" "its petals" "curling flames" "She cradled" "seemed to cradle" "the burning flower of" "herself gone" "her life" ("She saw" "whatever she saw, but what we saw" "was that flower") After surviving the horrors of the subway, Alette goes even deeper underground, passing through a series of psychological challenges that at times seem straight out of Freud, at times out of Classical mythology, at times out of collective dreams. Throughout it all, we learn more and more about Alette, who is not just a "hero" who goes through the motions necessary to the plot, but who considers and stumbles and is confused and learns. The third section of the book is a rebirth, wherein Alette finds a source for a stronger power than the Tyrant's, and it is distinctly feminist in its nature. I need to note here for those who react to feminism in a knee-jerk way: Notley's feminism is not a militant feminism, though it requires brief "military" action on Alette's part. Men are helpful in the story, have purpose besides being the bad guy. If anything, what Notley attacks in the form of the Tyrant is the idea of a corrupt masculinity, a kind of Big Brother who would easily stand as an antagonist in any number of 20th/21st century literary works. Alette's feminism is the discovery of her place in the world, and that place is not slaving away mindlessly for the Tyrant, not acting as just a womb or pair of hands or pretty face. It's a nuanced message, despite the epic (and therefore presumably black-and-white) nature of the whole book. The fourth section is the showdown with the Tyrant, a great deal of philosophizing, and an ending that I actually find more satisfying than that of Paradiso. I won't spoil it here, but it just works extremely well in conjunction with the themes of Descent as a whole. If you want to be challenged, if you want to think deep thoughts, if you want surreality and magic, pick up The Descent of Alette. For even more interesting reading from the author and her partner, you could also turn to The Scarlet Cabinet, which contains but actually predates the on-its-own publication of Descent.
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Reviewed in the United States on October 11, 2010
K
Kent Shaw
Louisville, US
★★★★★ 5
A Contemporary Epic
Format: Paperback
I have a complicated relationship with most of the books I've read by Alice Notley. I admire her facility with the lyric, her ability to get just beneath a concept or sentiment using a very talk-y style so that I always feel like I'm with whatever speaker she's using, inside that mind and her mind all at once. This is a good kind of complication. It's one I yearn for with poems. The unpleasant complications are when I feel as though I'm just being subjected to her unedited notebook entries. Too much, too much, too much. It comes up especially with her book Mysteries of Small Houses. I mention these difficulties only to sharpen the accomplishment of The Descent of Alette. Like other reviewers, I feel the tonal similarities to Dante's Inferno. Which becomes a subversive allusion considering Alette seeks after a male Tyrant in order to destroy him, while Dante sought after his Beatrice out of desire. But I read and reread Alette, because Notley continually subverts patriarchal conventions in the book. I actually find I crave the speaker's intellect, and the mythic logic that gives the book its arc. I want it more. Yes, there are quotations around each fragment in the poems. I actually appreciate them for slowing my reading down, and for sharpening my focus on the use of Notley's language. And it's not just a stylistic tic, or something to be endured. It could actually be described as further subversion of The Tyrant Alette pursues.
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Reviewed in the United States on August 25, 2011
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Raquel Wilbon
Dallas, US
★★★★★ 2
Imagery and diction
Format: Paperback
This book was very challenging to read because everything was written in quotations however, it was intriguing as a different way of writing poetry.
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Reviewed in the United States on August 11, 2020

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