Meet Mazie Phillips: big-hearted and bawdy, she's the truth-telling proprietress of The Venice, the famed New York City movie theater. It's the Jazz Age, with romance and booze aplenty--even when Prohibition kicks in--and Mazie never turns down a night on the town. But her high spirits mask a childhood rooted in poverty, and her diary, always close at hand, holds her dearest secrets.
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When the Great Depression hits, Mazie's life is on the brink of transformation. Addicts and bums roam the Bowery; homelessness is rampant. If Mazie won't help them, then who? When she opens the doors of The Venice to those in need, this ticket taking, fun-time girl becomes the beating heart of the Lower East Side, and in defining one neighborhood helps define the city.
Jami Attenberg’s Saint Mazie couldn’t be more different from her popular The Middlesteins, in that it is a) historical not contemporary, b) loosely based on a real woman who lived in early 20th century New York City instead of on an all-too-real fictional character in suburban Chicago andc) told as an oral history instead of as a traditional narrative. Still, this novel exhibits the same kind of wit and depth and heart of the earlier one.
Saint Mazie: A Novel Details
- Hardcover: 336 pages ( Download PDF :
) - ISBN-10: 1455599891
- ISBN-13: 978-1455599899
- Publisher: Grand Central Publishing (June 2, 2015)
- Language: English
- Product Dimensions: 6 x 1.2 x 8.8 inches
Inspired by the life of a woman who was profiled in Joseph Mitchell's classic Up in the Old Hotel, SAINT MAZIE is infused with Jami Attenberg's signature wit, bravery, and heart.
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Saint Mazie: A Novel Review
I wanted to like this book more than I actually did. The real Mazie must have been an incredible person. This fictionalized account is part hit and part miss. It tells Mazie’s story through numerous sources – in fact, a few too numerous for my taste. Most of this story is told in the form of entries in Mazie’s diary, started when she was a child, with excerpts from Mazie’s unpublished autobiography and interviews with people who knew Mazie directly or indirectly.
This was a premise to which I couldn't say no. From the window of her train, troubled, alcoholic commuter Rachel Watson watches the world --including a couple who are frequently out on their terrace at the very point her train stops every day. She names them Jason and Jess and decides their lives are the perfect happy-ever-after that hers has never been. But then Jess, whose name is really Megan, goes missing; and Rachel's memory of the night Megan disappeared is a yawning black hole. Did she see something? Can she help these strangers who continually draw her into their lives? I expected a taut psychological exploration driven by the mystery, but Hitchcock this isn't. None of the characterizations ring true, and the plot is created by withholding information the characters would naturally be thinking about (other than Rachel, who can't think about the plot due to alcohol-induced blackouts).
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