Take Me for a Ride: Coming of Age in a Destructive Cult

From the opening

"Lights," said my father and for a moment, except for the phosphorescent hands of the clock on the wall, the room went black. With a flip of a switch, he suddenly reappeared: a tall, thin man with thick glasses, standing beside the glowing enlarger. As a child I sat for hours under a dim yellow light, mesmerized by images appearing on paper submerged in trays filled with smelly liquid. Yellow, my father taught me, has no apparent effect on the light-sensitive specks coating photographic paper.

The unorthodox images which leapt from the walls of our house seemed as eerie as the darkroom experience itself: there was a photograph of a llama's head as viewed through a distorting fish-eye lens, there was a photograph of a shredded poster of a man's face, and there were many abstract photos which seemed to defy description. My father, a production manager at a New York publishing company, perhaps saw the world in a different light than his peers.

My mother was an elementary school teacher with black hair and sometimes kind, sometimes intense eyes. A generous and caring woman, she put her career on hold for more than a decade to raise a family. She met my father in upstate New York on a hike sponsored by an outing club.

When I was fourteen, I sensed that my father was growing tired, detached, and depressed, but I did not understand why. He expressed abstractions better than emotions, and found it difficult to vent the angers and frustrations which had accumulated from work and from home.

Nor did I understand that my mother freely gave to me what she, in her youth, had sorely missed: love. Oblivious to the magnitude of her workload--she taught full-time and was pursuing a Master's degree-- I grew angry with her as a teenager partly because she seemed insecure and overbearing, and partly because she expected me, my brother, and my father to help keep the house clean in the way that she wanted.

A short sample. Read the whole book

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