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From Publishers Weekly

"Childhood is morbid," declares Tea, author of the Lambda Award-winning Valencia, in this gritty girlhood memoir. As a kid, she perfected the art of playing dead. In her teens, she was deep into Goth-black lipstick and lace, her hearse-driving boyfriend and other grim reaperesque fashions. In lush detail, she describes growing up on the other side of the tracks in the Boston suburb of Chelsea. Her alcoholic father abandoned the family, and her mother was overworked. Tea longed to possess cool clothes, experimented with drinking and drugs, had sex with boys and then with girls. Recounting these bits leads to an obsession with proving that her stepfather had bored holes in the house's bathroom and bedroom doors so he could spy on Tea and her sister when they were growing up. However, his confession isn't exactly gratifying; Tea wishes he had actually "grabbed" her, wishing for the "indisputable trespass of a hand," which would have made her the unarguable victim of sexual abuse. Tea finally walks out of her mother's house for good, proclaiming herself not a woman but "some new girl, an orphan." The writing is well-honed (e.g., Tea describes her father extracting lobster meat as "pulling fingers from a glove"), and the image of the "Chelsea whistle" is poignant ("the boys it meant to call were the boys I would need to be saved from"). However, the book's starts and stops, coupled with a disappointing ending make her account ultimately unsatisfying. Copyright 2002 Cahners Business Information, Inc.

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From Booklist

Tea's memoir of growing up poor and white on the East Coast in the 1970s and '80s begins with her playing at being dead with her cousin and sister. Death and a sort of stagnant life in death were pretty much what this aging, "graffitied" working-class suburb of Boston had to offer its inhabitants. Tea's formative years aren't unusual, given her class background or the time. Her parents are divorced, and soon after their separation, her father, whose upbringing has left him completely unprepared to relate to his wife and daughters, deserts the family. Tea's biography is her attempt to explore the truth of her childhood, including incest. What makes it remarkable is her flair for description and her ability to recall vividly the indignities of her childhood. Tea has written a powerful and useful narrative for other incest survivors. June PulliamCopyright © American Library Association. All rights reserved

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Product details

Series: Live Girls

Paperback: 296 pages

Publisher: Seal Press; 1st Seal Press Ed edition (August 2, 2002)

Language: English

ISBN-10: 1580050735

ISBN-13: 978-1580050739

Product Dimensions:

5.5 x 1 x 8.2 inches

Shipping Weight: 13.6 ounces (View shipping rates and policies)

Average Customer Review:

3.5 out of 5 stars

8 customer reviews

Amazon Best Sellers Rank:

#1,448,753 in Books (See Top 100 in Books)

What can I say about Michelle Tea and her writing that hasn't already been said in a positive light? She is the most honest, unafraid writer I have ever had the pleasure to read, and The Chelsea Whistle is a daring, heartbreaking, wonderful continuation of her life story. Her writing is beautiful, everflowing and wonderfully descriptive. She pulls no punches, neither to protect herself nor to protect or punish the people around her. The thing I love best about her writing is the picture she presents of a whole person; she trusts her audience to see truth in whatever way they find it. She is able to pull words from the dark places in her that are universal but never said--she makes the whole human experience come to life in the way that we all know it in our hearts, and she does not purport to be special in her own experience. I don't know what Publisher's Weekly read, but I did not find her writing choppy, and if the ending is disappointing, it is only that her character is not done growing, as perhaps the PW reviewer hopes for. Michelle's is a life in progress, and I cannot wait to read the next chapter.

"Gritty" is used many times in the book to describe Chelsea, MA and applies to many of the events recounted, the author's experiences from age 8 to adulthood. It is a no-holds-barred description of the author, inside and out, and her relationships with her sister, mother, father, step-father and lovers, male and female. Some of it interested me, a heterosexual male; some was stomach-turning. Although the author seems later to have found success, if not happiness, her status as described at the end of the book was profoundly depressing. For some reason she used italics for speeches of others and initial caps for her speech. At just over 300 pages the book seemed long.

I never really thought about Amazon editing these reviews but in my last review I wrote the word b**!&#t and it was not posted. So this time I will write more nicely....Michelle Tea's memoir is no b**!&#t in its honesty and brutality about the growing up of girls. I worked in a reformatory school for girls in a new England town, an experience that scarred me (and I think the girls too) as the 12-17 year olds I worked with were labeled naughty and dirty although with only one clear exception had been more damaged than damaging. Every day the girls were given five minutes to shower and another thirty minutes to dry and curl and spray their hair....to socially conform or face punishment.Which is to say Tea's memoir strikes me as true to a specific time and place and yet surprisingly, humanely funny. As in the chapter where she talks about her elementary school fear of being pulled aside by a high schooler and hooked on drugs with the use of a mickey mouse stamp with LSD on the back. The kind of rumors and paranoia and fear that waft through small towns in America waft through this memoir and each chapter contains beautiful and true minutia about the props and tenderness and toughness of girlhood.Like maybe all good memoirs, Tea's childhood story outlines a betrayal....despite all her best intentions to stay free of the harms, microbes and miscreants lurking on the outskirts of her world, to not cause her overworked underpaid mother more trouble, a betrayal from within. I won't say more here except that the way she writes about this experience is fresh, poetic and clear. Those who criticise the ending seem to want something that non-fiction can't provide, which is clear closure. The concept of closure is nice, but rare in long-lived family dramas. And for those who think her experiences are too dramatic or made up, I disagree. The shame and fear and dirt of families written about here seems as true as any narration I've encountered.I wish sometimes that there could be a bridge...that in high school rich kids or middle class children who don't have to face this fundamental struggle of their right to exist could read more of the stories of children who have to start running from a very early age just to make it "out" of a tight web of poverty and family violence. I found this story to be hopeful, not because Tea's girlhood is tied up with a pink ribbon at the end, but because she's survived to write this account, we know the "ending" isn't the real ending of her story, just a step. And that her struggle as dirty and ugly (and at times hilarious) as it was has also been successful.I recommend this book to people of both genders, grown up or growing up who are able to contemplate the real life fears and tribulations of a real (not sanitized, doll-ified) american girlhood. Also recommended for fans of Judy Blume.

My stars are generous. I liked this memoir the first time I read it, but upon reading it a second time I could only wonder what I was thinking the first time around. As fellow reader Bruce suggests, Tea's story DOES have merit and, I would add, social importance, but the ways in which she conveys her story--or fails to convey it sometimes--leaves much to be desired.I feel like the real story is still in the walls of Tea's mind, in the walls of the house where she grew up, in the walls of words that she has contructed and called The Chelsea Whistle.But hey, it's her memoir, not mine.In short, Tea's memoir could be about 100 pages shorter! It had really good potential, but it does not leave a lasting impression. I would have liked to see Tea draw out more of the social issues and implications (relating to class, religion, sexuality, etc.) surrounding her coming of age. Instead, at some of the most crucial moments, we get walls--pointless references to what she ate on random days or how she tried to cure a yeast infection. (And trust me, unlike other writers, there was no symbolic value in any of these references.)Nonetheless I credit Tea for being so open and candid with her story. I just expected and hoped for something different, something resonant and socially useful (especially since she calls herself a feminist). Something more.

tea's first two memoirs are full of action and sesationalistic experiences with lovers, drugs and prostitution. where you really find out about the skills of a writer is their ability to make the quieter, less thrilling moments of life interesting. tea's ability to do this is best discribed as average. though i appreciate her story of growing up working class in a poor neighborhood outside of boston, it was somewhat of a struggle to get through this book. i would venture to suggest that tea is certainly an important voice in young, queer culture, she's just not always so well spoken.

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