Synopses & Reviews
"Making amends is on Conroy's mind in his 11th book. Over the years unflattering versions of his parents and siblings have popped up in books like The Great Santini and Prince of Tides. Here fiction meets reality in scenes of his mother going after his abusive father with a knife, constant verbal onslaughts from all directions, and mental breakdowns of several family members. That his siblings discount some of his claims is tossed aside as selective memory on their parts. Conroy has a job to do, that of mythologizing the clan for all time. His mother becomes Lady Macbeth and his father a noble ex-Marine who says his son lies about the family while also going on book tours and giving interviews on CNN. While the intent may have been to paint a more honest picture of his parents, Conroy only shows himself to be insecure about the legacy of his books. He connects jealousy over his writing to the death of his brother Tom Conroy and to the madness of his sister Carol Ann Conroy. These connections seem mostly in his head and are rendered in histrionic sappy prose. In the end his picture of the Conroy clan is one of deeply flawed people convinced the world is against them, those aspects are fetishized to an operatic level. But as Conroy points out many times in the book, this could all be in his head. Agent: Marly Rusoff, Marly Rusoff Literary Agency. (Nov.)" Publishers Weekly Copyright PWxyz, LLC. All rights reserved.
About the Author
In this powerful and intimate memoir, the beloved bestselling author of The Prince of Tides and his father, the inspiration for The Great Santini, find some common ground at long last.
Pat Conroy’s father, Donald Patrick Conroy, was a towering figure in his son’s life. The Marine Corps fighter pilot was often brutal, cruel, and violent; as Pat says, “I hated my father long before I knew there was an English word for ‘hate.’” As the oldest of seven children who were dragged from military base to military base across the South, Pat bore witness to the toll his father’s behavior took on his siblings, and especially on his mother, Peg. She was Pat’s lifeline to a better world—that of books and culture. But eventually, despite repeated confrontations with his father, Pat managed to claw his way toward a life he could have only imagined as a child.
Pat’s great success as a writer has always been intimately linked with the exploration of his family history. While the publication of The Great Santini brought Pat much acclaim, the rift it caused with his father brought even more attention. Their long-simmering conflict burst into the open, fracturing an already battered family. But as Pat tenderly chronicles here, even the oldest of wounds can heal. In the final years of Don Conroy’s life, he and his son reached a rapprochement of sorts. Quite unexpectedly, the Santini who had freely doled out physical abuse to his wife and children refocused his ire on those who had turned on Pat over the years. He defended his son’s honor.
The Death of Santini is at once a heart-wrenching account of personal and family struggle and a poignant lesson in how the ties of blood can both strangle and offer succor. It is an act of reckoning, an exorcism of demons, but one whose ultimate conclusion is that love can soften even the meanest of men, lending significance to one of the most-often quoted lines from Pat’s bestselling novel The Prince of Tides: “In families there are no crimes beyond forgiveness.”