In Fires in the Mirror, Anna Deavere Smith says, "A character from a play does not have a visible identity until the actor creates a body for that character." She goes on to explain that her goal is "to show that no one acts like anyone else." She does this by focusing on the details of her characters, the physical and liguistic subtleties that make people unique. This issue of "personality" of character is strongly emphasized in her work. When interviewing, she doesn't simply record the dialogue of her characters; she analyzes her characters, seeking to discover the true identity or identities of the people she portrays. What she discovers--and shares with us--is that her characters are not only three dimensional, but three dimensional in a multiplicity of roles. When she's successful, as she is in portraying the Jews and Blacks of Crown Heights in 1991, the underlying racial conflicts and hatreds and biases of her many-masked characters rise to the surface. This is Anna Deavere Smith's craft: She doesn't play a role. She plays a life playing a role.

Having lived in Brooklyn during the riots as well as the afterward subsequent search for meaning among those immediately involved, I find Smith's work to be exceptional. She does not go to academics or political pundits for explanation, but into the heart of the Crown Heights community itself. There she finds and then portrays complete understanding of cultural differences, allowing explanation to come from the source. One has only to read Smith's work here to see that we as human beings could do alot to combat racism if only we would ask questions and seek understanding first, rather than make assumptions and insist on our own meaning.

This book emphasizes the importance of oral history. Although you might not find polished masterpieces here, "East to America" accomplishes the much-needed task of placing Korean-American voices within a more prominent context--or at least publishes their voices. Praise for Elaine Kim & Co. for compiling the book; in my own research there has been slim pickins as far as the K.A. literature goes). But, as a "second generation" (American-born) Korean-American, I was disappointed to find that few members of my own generation (X?) were included in the collection (But it makes sense; after all, the book is called "East to America" ...bah). I found the stories gritty and real, and it was hard to put the book down. I would recommend this book to not only any Korean-American, but to anyone who is interested in viewing the Korean-American population as something more than gun-toting greengrocers or model minority geeks.

As a 1.5 generation, I really enjoyed the book. The life stories range from the 1900's immigrants to the most recent.

To the authors: how about a book based on the immigrants on the eastcoast?

I have grown a deep appreciation and respect for my Korean/American friends and neighbors. There is a tremendous sampling of real-life stories that I found to be very informative. Many of the problems in the world cultivate from a lack of understanding. However, the more we can learn aobut eachother and ourselves, the easier it will be to find common ground. This book has taught me a great deal about the struggles, agonies, and triumphs of Korean Americans.

As this soap opera progresses, the story becomes more and more uninteresting. Emily, the fairly dull narrator, slowly discovers the judgements she made about her mother and her mother's contractor, Alex, are all unfounded. Of course in a book as formulaic as this one the reader has made the discovery pages before the character does. The tangental snippets from Emily's past populated with unimaginatively realized characters like Ben, the radical intellectual pseudo-boyfriend from college, are also run-of-the-mill. Esaki-Smith has an understanding of drama, but only in terms of movie-of-the-week style relationships and situations. Considering the story is about the reconstruction of a house and, metaphorically the entire household, and that Emily had plans to be an architect there was such a wealth for dramatic development and surprises. But all we get is Emily's sorrowful musings of her muddling life as a waitress in a Japanese steakhouse and her not-so-interesting past. And of course paragraphs of her unapproving comments about the relationship between her mother and Alex. The anticipated meeting with Pavarotti and how that meeting eventually turns out is the only surprise in this sadly unfulfilling tale.

This is the story of Emily who, after graduating from college returns home to live with Hanako, her mom. What Emily needs is some interests, focus, direction, a little kick in the rear to get her life jumpstarted again but instead decides to fill her time by taking care of the affairs of her "helpless" mother. Hanako, on the other hand, has a mission and is determined to complete it. She was just a delight. At times she seemed so childlike and vulnerable yet had such a strong presence in the book. Alex was right, she is a strong person. I think for the most part Hanako's and Emily's relationship is a typical mom-daughter relationship. The ending was the only disappointment. It came very quickly and I kept wondering why the author ended the book so abruptly.

I really enjoyed this book for several reasons. First, it was a nice opportunity to get a glimpse into another culture and explore the acculturation process of the mother and her daughters. I also liked the use of flashbacks throughout the book as well as the memories triggered by household objects. Esaki-Smith's writing was easy to read and I enjoyed relaxing with this book on a rainy afternoon. My only disappointment was with the ending which didn't seem to fit the flow of the book. All in all it's a fine book and I would recommend it.

... Eric and D'Eva Redding's Great Big Beautiful Doll exposes the dark side of the playmate, from her humble beginnings as Vickie Lynn Hogan of Mexia, Texas to Vickie Lynn Smith, to Anna Nicole Smith, the latter name she got from Guess? Jeans president Paul Marciano. From there, Redding details someone who vulgarly flaunted sex, who was under a cloud of booze and drugs, and who wasn't above having sex with other women in front of the authors and even her own son.

Yet there is an incident in which both sides of the story are told. It involves Maria Ceratto, a former Honduran housekeeper who claims Anna Nicole forced her to have sex with her and basically held her captive by changing the phone number and not telling her. Anna Nicole on the other hand claims it was Maria who was doing the harassing.

There's even an entire chapter dedicated to Jay Leno's punches on her in his monologue, mainly concerning her marriage to Marshall. Two of the funniest: "I don't want to say he's old, but yesterday she told him to act his age--and he died." "She said they're two peas in a pod. ... It's more like two cantaloupes and a prune." Ouch and double ouch!

There are photos in the book, pictures as a child, nude ones, and a not-so-flattering police mug shot for a DWI.

So is this book credible? Well, let's see, Redding took the Polaroids that led to Anna Nicole's jump to fame. Both he and his wife were around her during that time, plus Anna-Nicole hasn't sued the Reddings. And Reddings portray themselves as being simultaneously disillusioned and feeling sorry at what she's become. To quote from the intro: "It would be easy to make fun of Anna, but we can't. Maybe it's a case of 'we knew her when,' but we did--and we liked her then." Yet at the same time, the bio comes off as being sensationalistic and somewhat exploitative.

For Anna-Nicole Smith sycophants, this book truly trashes their idol, so don't bother. If you totally loathe Anna Nicole, this book is ammunition for you. If you're ambivalent about her, well, maybe it's worth a read.

Vicky Lynn Hogan from Mexia, Texas....

Written by Eric and D'eva Redding, who worked with Anna Nicole Smith in the past. They were intimate with Anna both personally and professionally. Their writings and observations have been widely corroborated.

The story begins with the buxom blonde waitress at a chicken diner in a small (proud as usual for no reason) Texas town. It ends with her having achieved a dream, albeit with a few bumps and turns along the way. Anna Nicole Smith did make it to the industry heights, modeling and being "Playmate of the Year" in Playboy magazine. She sponsored Guess Jeans before they dumped her. She also appeared in some film roles. She took the only thing she had (like the rest of us) and sold it: herself. She acted upon opportunities, and that is success in itself.

But what can turn a reader against her (who are we to judge another person in the first place?) was her treatment of Marshall II, the 91-year-old-near-death man she married, for one and only one reason: da money. Nothing wrong with wanting security, and he wanted to marry her. But on her end she provided him with damaging neglect, lies, humiliation, and abandonment. After their wedding vows were exchanged she immediately left for Greece that very same day with her body-guard/lover on the obtuse pretenses of having to do a "cover shoot." When Marshall II died 14 months later she hadn't even visited him in a month. Later she would sue in court to abscond with "half of what he was worth." She claimed in court Marshall II promised her "half of what he had." There was never anything in writing to this claim. While he was alive during their brief marriage, having spent unlimited amounts on Anna's monthly allowance, buying her homes, cars, trips, clothes and more, he made an irrevocable will cutting her out of his net worth.

For Anna, life in West Los Angeles in the media spotlight appealed to grandiose inclinations. She rented the Brentwood home where Marylin Monroe died on Helena Street in her futile attempt to parrot her--Anna should have gone all the way.

Some of the bad publicity for Anna came from:
Her Honduaran house-cleaner and nanny charged her with sexual assault and other abuses and received $800,000 dollars from a jury.

Public debauchery in the fast and furious LA nightlife scene. Pills, booze, and late-night drive-thru Taco Bell binges. Nothing wrong with debauchery, but with her endorsement of products and the paparazzi snapping away, she was on the road to being non-sponsor.

After her pseudo-hubby died, she tried to change the funeral plans and disposal Marshall's body, even though he had previously stipulated his wishes to be cremated in writing. By Anna claiming she converted to Catholicism (laugh), which opposes cremation, she muddled up the funeral 'ceremoney', forcing a court (yes, a court once again) to decide what should be done with Marshall's body. Even in his death, she offered insult to injury to the memory of Marshall II and his family.

Soon after, she sued for money he didn't want here to have. A federal judge (in LA of course) broke Marshall II's will and gave her 450 million dollars, even though he legally and specifically ommited her from his will. Is this America?

When a rich person dies that's when the war begins. When it comes to money there are usually a lot of fingers in the pie. When it comes to money....

Marshall II's son came to the rescue. Pierce Marshall, son, and stellar attorney Rusty Hardin (he had Texan written all over him) took on Anna in a Houston courtroom. She was exposed for what she was. In the end another judge reduced her 450 million (LA court) judgment to a paltry 88 million dollars.

She got da money in the end and today in 2003, she has a T.V. show. But knowing her, she'll file for bankruptcy within 10 years, if she doesn't eat herself to death, O.D., or crash her car. Again, my question is: Vicky Lynn Hogan, a " great big beautiful doll?" Maybe an ever-expanding over-inflated one full of hot air, glazed eyes and bad breath.

i for one have to say i am a big anna nicole smith fan!! i love her to death so this book wouldnt change my mind no matter what! this book i read with in a day i cannot put it down. The one thing i can say is anna nicole smith has led a very fascinating life and as the one woman said she has had it real hard and this book is very sad to. I learned alot of facts although i am not saying its a lie you don't know what people are saying about you just to bad mouth you cause your famous. Although the whole black bodyguard was good they could have totally made her look bad and they didnt so i don't know how truthful it is probalby is mostly but i have to say its a very sad book and this woman has a had it ruff no matter what people say.

This was the most disappointing book I have ever read. The excerpt on the back cover is probably the only redeeming part of the book. She proposes a fantastic idea, to get into what WAshington,D.C. is all about by talking to the top people and media there, but her book never gets past her own self-interested affairs and mundane, uneducated theories.

And she talks to such great people, but you only read a paragraph or two of their interview. To top it off, she introduces no one, gives none of their ideas and then leaves them completely.

As for the racism against blacks she decries throughout the book, Ms. Smith does a good job of being racist against whites herself, and strongly so. Does that justify her own case against racism? Hardly. At one point she wrongly attests that white and black women never could be friends back when she was a child. That would put it back in the 1960s. What an uneducated idea.

I was not impressed and only pushed through to appease my book club. Still, I only made it part way. What the book really needed was a good editor, less of her own ideas and more of those she talked to. I'm just glad I checked the book out at the library.

I had seen this author interviewed on several different forums and was eager to read "Talk to Me; Listening Between the Lines". This book has so much promise, bringing to mind the work of Studs Terkel.....and that promise is never realised. Anna Deavere Smith emerges as a "talking head" interested in putting her spin on what she hears rather than listening. There is no lack of potentially engrossing material, Washington,D.C. or the Beltway as insiders call it, a women's correctional facility, access to rich, famous and powerful....and it is all wasted. This book was a real disappointment.

"Speaking calls for risk, speaking calls for a sense of what one has to lose. Not just what one has to gain. Speaking calls for heart."

The real gift in "Talk to Me" is Anna Deavere Smith's small revelations about her process as an actor, writer and director. Throughout my reading of the book I found myself scribbling down her observations of language and conversation/dialogue.

She centers the book on her journey to Washington D.C. to research a performance work on Thomas Jefferson. What happens in the book is what often happens to us as writers and creators: her initial intention is shifted by events and personal truths. What Smith discovers with the aid of her researchers, what she unexpectedly finds in D.C., reorients her path.

Smith is very honest about her D.C. experiences in relation to race, reflecting on her own segregated childhood. Some may be uncomfortable with these realities and her upfront honesty as a black actor who did not get work in the theater for many years (because she wasn't "black enough" to play a black woman or "white enough" to play a white woman - this, before she began writing and directing her own works).

"Acting, the study of the authentic, puts a high premium on vulnerability. When there is vulnerability there is a greater possibility that something will actually happen."

In the end, this book really is about language and performance. I found it to be useful in my work in the theater and I recommend it to anyone interested in the creative process or interpersonal communications. Anyone looking for a memoir about her career or for a discussion of her past theater works ("Twilight", "Fires in the Mirror") would be disappointed, and I could see some not liking her meandering narrative method.

Her snippets of interviews with Washington D.C. notables and media insiders like George Stephanopoulos, Studs Terkel, Mike Wallace are a definite bonus and support her argument that the language on the Capitol is very different from the language of the people.

Anna Deavere Smith is a well-educated, well-connected, talented, scholarly African American woman, recipient of many honors, minor movie and television roles, her own one-woman television specials and theatrical performances. The problem with this book is that she NEVER lets us forget how wonderful she is. She is SO impressed with herself that it's amazing to me that she ever got around to interviewing her, uh, subjects. (SHE seems to be the real subject.)

The book is a fairly interesting look at what goes on in Washington political circles, where most of her interviews take place. If you can get past the parties in her honor and all the other self-focused hoo-ha, you might enjoy reading it. Otherwise, find something to read by an African American writer who is a little more scholarly and a little less self-enthralled.