By now, most regular readers probably know I have a book coming out soon. In case anyone is interested in pre-ordering The Narcissist You Know, here are links to the Amazon product pages for both hardback and Kindle versions. The pub date is still nearly eight weeks away, but all these pre-orders count toward my debut ranking and mean a great deal.
One of my clients has lived in a small, closely-knit community for many years now. In partnership with another couple, two people she considered good friends, she owned a restaurant/bar that served as a gathering point for their community. As it turned out, these “friends” had been stealing from her for quite some time, skimming profits that should have been shared with my client – easy to do in a cash business. When my client finally learned the truth, she confronted her partners and, to make a long and very painful story short, they out-maneuvered her and took control of the business.
A while back, I wrote a post worrying over the difference between pride and narcissistic self-display. I’ve since made peace with this issue and feel comfortable expressing my feelings of pride in accomplishment, sharing my joy with friends and family members eager to rejoice along with me. I’ve also been helped by a recent example of another author who better demonstrates the true nature of narcissistic self-promotion.
I received a review copy of Alexandra Jamieson’s new book Women, Food, and Desire, and read it with great interest. Advance word suggested it would touch upon food cravings as partly defensive in nature – that is, the ways we eat to avoid dealing with some unacknowledged psychic pain. I address the defensive use of eating in my own book, Why Do I Do That?, so Jamieson’s book naturally appealed to me.
Due to chronic lower back pain, caused mostly by spending too much time seated at my desk and staring at a computer screen, I decided to enroll in a four-week yoga workshop designed for people with similar issues. Like many of you, I’ve spent lots of time attending group physical fitness classes of different kinds over the course of my life. Though I don’t overtly show it, I become highly competitive when I find myself in such groups. Even before I attended the first class, I was wondering if I would feel the same way in yoga, to which I am a newcomer.
In April when visiting New York City, we had dinner one night with our friend Reed Birney, an actor whose scarily good performance in Harvey Fierstein’s Casa Valentina last season won him a Tony award nomination and a Drama Desk award for Best Featured Actor in a play (House of Cards fans: he also has a recurring role in that series as Rep. Donald Blythe). At dinner, Reed was talking about a 2013 article in the New York Times that dramatically elevated his public profile.
Unlike most of the actors he knew in his youth, Reed did not leave for Hollywood but remained in New York. While he has played many small parts in episodic television, he has spent most of his career as a stage actor appearing in Off Broadway productions, unknown to most people outside the theater world. Then came the lengthy New York Times article that profiled his career and celebrated his return to Broadway, after more than 30 years, in a revival of William Inge’s play Picnic. He was back on Broadway last season in Casa Valentina.
At dinner, Reed was talking about the sense of validation he felt, being profiled in what he referred to as “the newspaper of record.” The phrase stuck with me and I’ve thought of it often since April. For people of our generation – those of us with an interest in ideas, culture, and art – the New York Times speaks with unparalleled authority. To the writers I know, having a book reviewed by the Times is among the highest honors we can imagine. Composers and visual artists probably feel the same way, and not only because these reviews can make or break you. In an era where Facebook and Twitter allow everyone to become a short-form critic with a platform, the NYT gives us thoughtful reviewers whose informed opinions go deeper. When theater critic Ben Brantley has something to say about a new play, it’s most definitely worth listening to.
Writers whose work I admire regularly contribute to the NYT. Articles by Daphne Merkin and Andrew Solomon (author of Far from the Tree) often appear in its pages. Most recently, Ms. Merkin contributed an essay to the paper’s Couch feature, a part of the Opinion section that explores psychotherapy from the point of view of both clients and therapists. Her essay described the way she evoked laughter from her various therapists over the years and made me wonder if any of them were familiar with the concept of resistance. It also made me wonder, at the urging of friends, whether I should try submitting my own contribution to Couch.
I did. And it has been accepted. My essay now appears here in the online version of the New York Times. A shorter version will also run tomorrow in the print edition. Although my editor at the NYT assured me that “the vast majority” of readers will access it online, the experience of having an op-ed in the Sunday edition of the New York Times, print version, means much more to me.
None of my achievements these last few years has been quite so deeply satisfying, although selling The Narcissist You Know to Touchstone Books came close, and I suspect that seeing the book in print when it’s released this summer will be even more gratifying. In many ways, blogging and self-publishing have made me independent: I don’t need anyone in a position of authority – those people I think of as the “gatekeepers” – to validate my work, because readers who visit my blog and buy my books do that directly. I relish this independence but at the same time, if I’m honest with myself and not playing the sour grapes game, I admit that I still crave validation.
And now, like my friend Reed, I have it. I feel deeply validated by appearing in the newspaper of record. I hope you’ll read my essay, share it with others, and leave a comment if you’re so inclined.