We’ve all got a good memoir or reminiscence book buried inside us. It’s quite another thing to actually get it out on paper, virtual or real, in any useful form. Because it requires selectivity. Unless you’re a major public figure, the world probably doesn’t need your autobiography. But it might not be able to resist your own take on the choicest bits.
That’s why there is so much to admire in what my friend, Michael Bourgo, has done. His memoir, Once Upon a Time: Growing Up in the 1950s, delivers exactly what the title claims—the experience of childhood in that now-legendary era from which so much of today’s pop culture—Happy Days, Back to the Future, Leave it to Beaver—derives.
Unlike Hollywood’s version, however, Michael’s version has the smack and tang of real events as lived in a particular person’s life. That person happens to be a warm, engaging old man recounting oodles of details from a long-ago period of his life. The struggles of a young family trying to get a start in a dynamic yet unpredictable postwar economy; the thrill of shopping at Marshall Field’s in Chicago’s Loop and dining at one of that elegant store’s six on-site restaurants; the satisfaction of showing up at summer camp self-contained and not dependent on a helicopter mom (yes, they had them in those days, too!) to unpack one’s footlocker.
Most of us, when we go to write a memoir, get overwhelmed by the imperative of sharing everything we have experienced—because every bit of it is significant to us, and we are sure that if we simply spray it out in its entirety, our own deep appreciation of each detail will transfer automatically to the mind of the reader. That is a delusion.
Write for the Reader, Not the Author
What readers want is information that is in some way new and significant to them—not a catalog of what is old and significant to the author. While trotting out an abundance of details from his amazing memory, Michael Bourgo always respects the reader’s need to get something surprising and interesting from the narrative. He also knows when to quit. This never becomes a recitation of everything that happened in the author’s life. He knows that what is significant, that today’s people might need or want to know, has to do with childhood in the Fifties. He sticks to that subject.
With a format composed of solid chapters arranged on chronological and topical lines, alternating with page-long poems that shed further light on matters already covered in prose, Michael gives us a credible understanding of life in the Fifties, one that goes well beyond the stereotypical adventures of Beaver, Wally, and Eddie Haskell.
For example, describing the ritual of young boys getting haircuts in those days: “There was another side to Ken’s [barber shop]. . . . My brother, always a more astute observer than I, figured it out when he was in high school. One day he overheard a strange exchange between a patron and one of the barbers, and he realized they were using some sort of code to set up a wager. So, in addition to cutting hair, Ken’s was also a front for a bookie operation that handled bets on sports. No doubt this was a service that many citizens found useful because in those days there were only two places to place a legal bet—at a horse track or in Las Vegas.” (I also, Dear Reader, patronized that kind of a barber shop as a boy. But I only got my hair cut.)
Those of us who lived through the times Michael Bourgo describes will recognize many of our own experiences in his narrative; and we will encounter other episodes, foreign to our own experience, that reflect the broad range of life lessons disclosed to members of different families in different places.
For readers who did not arrive on the scene before the Fifties finally petered out (around 1965), this well-balanced and life-affirming memoir will showcase a whole new world in richness and nuance—a world that Marty McFly would never find in his DeLorean.
I recommend Once Upon a Time: Growing Up in the 1950s to anyone who would like to re-live the era through a different set of eyes, and also to anyone who would like to experience it for the first time as it really was—not just as shown on TV.
Larry F. Sommers, Your New Favorite Author
Author of Price of Passage—A Tale of Immigration and Liberation.
Price of Passage
Norwegian Farmers and Fugitive Slaves in Pre-Civil War Illinois
(History is not what you thought!)
Excellent advice for those who intend to write and for those of us who will enjoy the reading
Thanks for your interest, JoEllen.
Michael Bourgo is a prolific poet and masterful story teller. I have read most of his poetry and prose, and I find it even more edifying since he is my cousin. I too am a writer, but of historical prose, not poetry. Mike has the memory and manor of an old sage, and a talent for describing and interpreting people, places, things, and events, that have touched his life and the lives of others. For most of us, the remnants of our family histories lie in those old dusty boxes of black and white, uncaptioned, photos, which will forever remain a mystery. We keep them and pass them along without ever knowing who they were, how we were related, and the stories they could have told to us. Mike, on the other hand, with his unique talent for capturing the essence of our familial past, relates our stories through his colorful verbiage.
Thanks for your insights, Allen.
I have been reading some of your other columns and find them fascinating. You too are a gifted writer.
Thanks, Allen! That’s the kind of feedback I love to hear. Please keep visiting my blog and spread the word.