She went there, long before that was a catchphrase, and before that particular there was such a crowded piece of real estate". Scott of The New York Times wrote in 2016 that while others before Fisher had written about their struggles with addiction, Postcards from the Edge "bristles with a bravery and candor that still feels groundbreaking. Later Suzanne talks with her on the phone, but it is not stressful.Ī. I mainly blame my dealer, my doctor, and myself, and not necessarily in that order. She thinks I blame her for my being here. I was nervous about seeing her, but it went okay. I'm surprised I was able to detox without it. She came by today and brought me a satin and velvet quilt. My mother is probably sort of disappointed at how I turned out, but she doesn't show it. Suzanne's mother appears in very few scenes, while Suzanne is in rehab: Unlike the movie, most of the conflict in the book is internal, as Suzanne is learning to handle her life without the prop of drugs. The book ends on a bittersweet note: she knows she has a good life, but doesn't trust it. She is flattered that he inquires as to whether she is "available for dating", but she is seeing someone. She notes that she is still off drugs and doing well. The epilogue consists of a letter from Suzanne to the doctor who pumped her stomach, who had recently contacted her. The fifth section encapsulates her relationship with the author, bringing the story to the anniversary of her overdose. She meets an author in the green room and gives him her phone number. The fourth section shows a week of Suzanne's " normal" life: working out, business meetings, an industry party, and going with a friend to a television studio for a talk show. The section ends with the crew mooning her on her birthday, and Suzanne asserts that "there isn't enough therapy" to help her with that experience. This becomes a running gag among the actors and crew. She is chided for not relaxing herself on-screen, and notes that if she could relax she wouldn't be in therapy. For convenience, Suzanne stays with her grandparents while the movie is made. The third section describes the initial days of the first movie Suzanne made after her treatment. The last three sections are traditional third-person narrative. Their relationship continues in this vein – all dialogue/monologue. It then changes to alternating monologues from Suzanne (addressed to her therapist) and Jack (addressed to his lawyer, who serves much the same purpose as Suzanne's therapist). The second section opens with dialogue between Suzanne and film producer Jack Burroughs on their first date. This section ends with Suzanne being discharged after successfully completing treatment. ("Maybe I shouldn't have given the guy who pumped my stomach my phone number, but who cares? My life is over anyway.") In time Suzanne's entries begin to alternate with the experiences of Alex, another addict in the same clinic. The novel continues the epistolary form, consisting of first-person narrative excerpts from a journal Suzanne kept while coming to terms with her drug addiction and rehab experiences. The prologue is in epistolary form, with postcards written by Suzanne to her brother, friend, and grandmother. The book is divided into five main sections: The novel revolves around movie actress Suzanne Vale as she tries to put her life together after a drug overdose. It was later adapted by Fisher herself into a motion picture of the same name, which was directed by Mike Nichols and released by Columbia Pictures in 1990. Postcards from the Edge is a semi-autobiographical novel by Carrie Fisher, first published in 1987.
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