An uplifting, unconventional, and deeply imaginative remembrance.



A communications executive with debilitating pain finds comfort and self-understanding in fairy tales in this memoir.

In 1993, after Tocher injured her back, she was forced to close her Toronto-based communications firm. She suffered for a further seven years with chronic pain without successful treatment, and she was on the brink of what she calls “dangerous depression” when she chose an unconventional way to help herself. Tocher’s interest in fairy tales was first piqued in 1981 after she attended a storytelling event featuring Irish bard Alice Kane. She developed such a great love for the wisdom in such stories that she looked to the folklore genre for solace in her time of need. In these pages, she focuses particularly on retelling stories of tower princesses, such as Rapunzel, while drawing parallels between their plights and her own: “Chronic pain had put me in a tower, and I often described my body as a prison of bones.” Tocher introduces the reader to a world of mythical creatures—such as fairy godmothers, gnomes, and dragons—which inform her inner world, while also reporting “concurrent events” of her “outer life.” As the author battles with the pain of what was later diagnosed as fibromyalgia, she draws upon the “radical, restorative power” of old, overlooked stories and ultimately finds comfort in this “mirror world.” Along the way, this memoir tantalizingly skirts the gossamer divide between fantasy and reality, as when the author describes visions she had, such as one of Mother Earth prostrate and unconscious.

Tocher’s approach to storytelling effectively captures the playfulness of classic fairy tales but adds a contemporary zing. For example, here’s her description of a character named Gothel, whom some readers may know from the Disney film Tangled: “Dame Gothel is in a real funk. She sits in her parlor on her massive walnut chair, holding her knobby knees to her chest….She bites her nails and mutters to herself, her eyes searching the room, searching everywhere.” Tocher’s writing style recaptures the delight of hearing timeless stories as a child but also delivers a thoughtful and deeply personal close reading of such tales and their philosophical messages: “I was Dame Gothel…trying to force natural things into models of perfection that they themselves couldn’t possibly attain.” The memoir also shares simple but timely advice, as in a passage told in the voice of a fairy godmother: “Do not get caught between the mirrors. You cannot be one person on the inside and another on the outside.” Some readers may consider such fantastical elements in a memoir to be a way of evading the truth. But it this case, readers learn a great deal about Tocher’s deepest hopes and dreams through her fairy-story interpretations, which she employs as a “mirror for the soul.” This book does not purport to remedy physical pain, but it does demonstrate how fairy tales can help promote self-understanding and lighten one’s emotional burden—and it’s a true joy to read as it does so.

An uplifting, unconventional, and deeply imaginative remembrance.

Pub Date: May 31, 2021

ISBN: 978-0-9738776-0-1

Page Count: 304

Publisher: Wonderlit Press

Review Posted Online: Oct. 11, 2021

Kirkus Reviews Issue: Dec. 1, 2021

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The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the...


Elie Wiesel spent his early years in a small Transylvanian town as one of four children. 

He was the only one of the family to survive what Francois Maurois, in his introduction, calls the "human holocaust" of the persecution of the Jews, which began with the restrictions, the singularization of the yellow star, the enclosure within the ghetto, and went on to the mass deportations to the ovens of Auschwitz and Buchenwald. There are unforgettable and horrifying scenes here in this spare and sombre memoir of this experience of the hanging of a child, of his first farewell with his father who leaves him an inheritance of a knife and a spoon, and of his last goodbye at Buchenwald his father's corpse is already cold let alone the long months of survival under unconscionable conditions. 

The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the sphere of suffering shared, and in this case extended to the death march itself, there is no spiritual or emotional legacy here to offset any reader reluctance.

Pub Date: Jan. 16, 2006

ISBN: 0374500010

Page Count: 120

Publisher: Hill & Wang

Review Posted Online: Oct. 7, 2011

Kirkus Reviews Issue: Jan. 15, 2006

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A conversational, pleasurable look into McConaughey’s life and thought.

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All right, all right, all right: The affable, laconic actor delivers a combination of memoir and self-help book.

“This is an approach book,” writes McConaughey, adding that it contains “philosophies that can be objectively understood, and if you choose, subjectively adopted, by either changing your reality, or changing how you see it. This is a playbook, based on adventures in my life.” Some of those philosophies come in the form of apothegms: “When you can design your own weather, blow in the breeze”; “Simplify, focus, conserve to liberate.” Others come in the form of sometimes rambling stories that never take the shortest route from point A to point B, as when he recounts a dream-spurred, challenging visit to the Malian musician Ali Farka Touré, who offered a significant lesson in how disagreement can be expressed politely and without rancor. Fans of McConaughey will enjoy his memories—which line up squarely with other accounts in Melissa Maerz’s recent oral history, Alright, Alright, Alright—of his debut in Richard Linklater’s Dazed and Confused, to which he contributed not just that signature phrase, but also a kind of too-cool-for-school hipness that dissolves a bit upon realizing that he’s an older guy on the prowl for teenage girls. McConaughey’s prep to settle into the role of Wooderson involved inhabiting the mind of a dude who digs cars, rock ’n’ roll, and “chicks,” and he ran with it, reminding readers that the film originally had only three scripted scenes for his character. The lesson: “Do one thing well, then another. Once, then once more.” It’s clear that the author is a thoughtful man, even an intellectual of sorts, though without the earnestness of Ethan Hawke or James Franco. Though some of the sentiments are greeting card–ish, this book is entertaining and full of good lessons.

A conversational, pleasurable look into McConaughey’s life and thought.

Pub Date: Oct. 20, 2020

ISBN: 978-0-593-13913-4

Page Count: 304

Publisher: Crown

Review Posted Online: Oct. 27, 2020

Kirkus Reviews Issue: Dec. 1, 2020

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