Rich man’s burden

A coolly sardonic and conflicted memoir of growing up amid uptight privilege and personal pain in New York

December 05, 2010|Richard Eder, Globe Correspondent

Society is a bore to be in, Oscar Wilde wrote, but a tragedy to be out of. Louis Auchincloss, novelist, lawyer, and heir to generations of New York high society — all eight grandparents were native New Yorkers, and rich — makes the Wilde quote from “A Woman of No Importance’’ so much his own that he cites it twice in this brief memoir. He wrote it when he was 90, shortly before his death last year.

“A Voice from Old New York’’ both bites and feeds from the parchment hands that bred him. He has sardonic things to say about the uptight, often self-punishing patrician world he was born to; at the same time he makes sure we know he was born to it. His mother, a complicated woman who managed to be unpredictably open as well as predictably closed, accused him as a boy of being a snob.

It shows in his asides about the family’s three houses, four maids, two nurses, and a chauffeur; and in his retort, amiable but cutting, when his fellow law associates teased him about his social position: “Every one of them was ‘working his tail off’ to create for his children as close a copy of my background as he was able.’’

A note or two of snobbery is inevitable in such a memoir. What is more striking is its chilly distance. (And if the chill is a limitation it is also a kind of salvation. Auchincloss entirely avoids the penny-Arcadian sentimentality of many golden-childhood memoirs.) Even the most painful things are told as if by aerial spotter. The events are there, some of them anyway, but hardly a word about his feelings.

He recounts them without making the effort to go deeper — neither with others nor with himself. He tells us that as a young man he was unable to respond to sexual advances either from women or men; but that a brilliant psychiatrist cured him. That’s it. “I draw the curtain,’’ he writes after giving us part of someone else’s unhappy story.

Auchincloss delivers a decidedly limited strip tease and, chill apart, an occasional vague slippage in the patrician writing style. Memoirs are more demanding than they seem; they require a firm bite, and in his ninth decade, Auchincloss’s may have loosened a bit. Still, enough remains to seize our interest, to entertain, and occasionally to move.

Even an aerial spotter will detect large devastation. The most vividly described is the shock of boarding school after a cosseted and cushioned childhood.

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