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Summary
Summary
The Love Story of JFK Jr. and Christina Haag
An elegy to first love, a lost New York, and a young man who led his life with surprising and abundant grace
When Christina Haag was growing up on the Upper East Side of Manhattan, John F. Kennedy, Jr., was just one of the boys in her circle of prep school friends, a skinny kid who lived with his mother and sister on Fifth Avenue and who happened to have a Secret Service detail following him at a discreet distance at all times. A decade later, after they had both graduated from Brown University and were living in New York City, Christina and John were cast in an off-Broadway play together. It was then that John confessed his long-standing crush on her, and they embarked on a five-year love affair. Glamorous and often in the public eye, but also passionate and deeply intimate, their relationship was transformative for both of them. With exquisite prose, Haag paints a portrait of a young man with an enormous capacity for love, and an adventurous spirit that drove him to live life to its fullest.
A haunting book, Come to the Edge is a lasting evocation of a time and a place--of the indelible sting of the loss of young love, and of the people who shape you and remain with you, whether in person or in spirit. It is about being young and full of hope, with all the potential of your life as yet unfulfilled, and of coming of age at a moment in New York's history when the city at once held danger, magic, and endless possibilities for self-discovery.
Rarely has a love story been told so beautifully.
Author Notes
Christina Haag is an actress who lives in New York and Los Angeles. She is a graduate of Brown University and the Juilliard School.
Reviews (2)
Publisher's Weekly Review
Stifling pathos and loss overshadow this heartfelt memoir by actress Haag about her youthful years of friendship and romance with John F. Kennedy Jr. Both born in 1960, though Haag was some months older, the two attended elite private schools in mid-1970s' New York City and, trailed by Kennedy's Secret Service agents, frequented the same parties and bars as teenagers. Haag went to Brearley, Kennedy to Collegiate, and they both ended up at Brown University and even shared a large house. Haag's serious acting career both attracted Kennedy-a fledgling actor and co-star with her in the small theater production of Winners in 1985-and distanced him, as he preferred his girlfriends to hop on a plane at a moment's notice and plunge into vigorous, sometimes perilous physical activities. Kennedy's abrupt death in a plane accident in 1999 throws a poignant sweetness over such insignificant details as trips they took together and dialogue exchanged; the two were gradually pulled apart in late 1990 by his involvement with Daryl Hannah and other women. Haag proceeds in her narrative with an elusive earnestness, trying to capture the deep connection between the lovers despite the pull of his celebrity, his mother, and their separate pursuits. What remains is a piercing portrait of a vibrant, reckless, tender young man so bursting with life that nothing could contain him. (May) (c) Copyright PWxyz, LLC. All rights reserved.
Kirkus Review
John F. Kennedy Jr.'s former love offers glimpses into the last vestiges of Camelot.In actress Haag's debut memoir, readers gets a front-row seat to her on-again/off-again love affair with JFK Jr., President Kennedy's eldest son. After nine years cloistered in Catholic school, the author was suddenly propelled into the glitzy world of upper-crust New York. Her sepia-toned recounting of evenings shared with an adolescent JFK Jr. are spellbinding, setting the stage for the romance soon to come. After a series of missed connections and serendipitous run-ins, the pair finally fell into sync, two young actors playing opposite one another in a play. In a revealing conversation, a young Haag informed JFK Jr. that if he forgot his lines, he need only, "[s]top, take a breath, and look into my eyes. It will ground you." It was sound advice, particularly from the woman JFK Jr. would later call his compass. Haag provides minute details that manage to humanize JFK Jr. in a manner the media never attempted. She recalled the "[s]paghetti he made with soy sauce" and "[l]eaping on the benches outside the Museum of Natural History"bothseemingly innocuous details, yet they offer a new look at an old figure. Equally intriguing are the author's romanticized depictions of Jackie Onassis, the widow who could often be spotted riding her bicycle along the trails of Martha's Vineyard, "her head kerchiefed," searching the fields for birds. Despite her intimate view, Haag is careful not to exploit the Kennedy clan; instead, she simply returns them to human form.An honest, heartfelt account of love, politics and tragedy.]] Copyright Kirkus Reviews, used with permission.
Excerpts
Excerpts
Chapter 1 Beginning Within you, your years are growing. -pablo neruda In the cool of a June evening long ago, a man holds a child in his arms. Across the field, light is falling behind a bank of trees and resting on a water tower, a dome of red and white checks. She's in a cotton nightgown and her legs dangle. He is wearing tennis whites, but they're rumpled. They always are. No socks, his shirt untucked. Behind them, a shingled summerhouse rambles down to a dock and a muddy bay. Near the kitchen door, a painted trellis is heavy with the heads of pale roses bowing. Every night they do this. He sings her made-up songs and tells her stories. Some are silly, and she laughs. Daddy, she says. Some are of women in long dresses. Some of a princess with her name and a knight who slays dragons. But on summer nights, as he does on this one, he points to the tower and tells her it is hers. Her very own. He tells her, and she believes him. His eyes, sharp like the blue of a bird's wing, gaze into hers. She lays her head against him, hair damp from the bath, and breathes the salty warmth of his skin. She wraps her legs at his waist and curls into him as the story ends and the light dies. My parents were married under a pink and white tent on the East End of Long Island on a July night in 1959. The tent, sheer and billowing and filled with stephanotis and daylilies, was propped for the night on the grounds of a robber baron's estate in Quogue, New York, a resort community some eighty miles from Manhattan. The estate was not on the ocean; most of the grander homes there were set back across the canal from the spit of barrier beach that ran from the Moriches Inlet in the west to the Shinnecock Inlet in the east. There, on the eastern end- standing on the jetty past Ponquogue Bridge, looking at that wide, ancient bay and the cut where the Atlantic rushed in-you could see across to another sandy spit, and miles later, there was Southampton, where lavish shingled cottages were indeed built by the sea, on Gin Lane, on Meadow Lane, on Dune Road. The rented house where they were married, with its diamond-mullioned windows and its graceful veranda, was close enough to the water so that when the wind changed-when dinner ended and the dancing began-the scent of the sea would have mixed with the music and laughter and the heady perfume of the sweet, high-hedged privet. The bride's organdy gown was from Bergdorf Goodman, her portrait by Bachrach, and the engraved invitations by Cartier, and if you thumbed through the glossy black-and-white proofs of cake cutting and veil straightening, you might think children of privilege, society wedding. But you would be wrong. My parents' story was different. They were both Catholic, both of German and Irish descent. They came from small towns in Pennsylvania and Nebraska. My father was the son of a railroad foreman, my mother the daughter of a rancher, farmer, wanderer, and occasional Prohibition bootlegger. They had come to New York to find their fortunes, and on a winter day, seventeen months before the wedding by the sea and twenty-six months before I was born, they found each other. After graduating from St. Mary College in Xavier, Kansas, my mother took a monthlong TWA flight attendant's course. When asked to put in for their home base, she and her best friend swore they'd stick together. My mother wanted Kansas City, but her friend pushed for New York. "Aim for the top," she said. "You can always come back." They tossed a coin, and my mother lost. By the time she met my father, she had been in the city for almost four years and was living in a one-bedroom apartment behind the Waldorf-Astoria with two roommates. No longer a stewardess, she was a Foster-Ferguson model with dreams of becoming an opera singer. She did commercial and editorial print, but not high fashion. She was the girl next door with the winning smile-Miss O'Neill Lyons Club, the Dial soap girl, and the second runner-up in the Miss New York Summer Festival of 1958. And in every snapshot from my childhood, no matter who was crying at the time, she looks perfect-her face catching the light, her ankle turned just so. My father was thirteen years older. He'd been in New York longer and was in his element, as though he'd been born rushing somewhere in a single-breasted charcoal suit, a topcoat easy on his arm. He'd been a pilot during World War II and had flown a Martin B-26 Marauder over Utah Beach. In the winter of 1945, on R & R in Miami, he met a girl at the Delano Hotel and scrapped his plans to join the Flying Tigers and fly the Hump to China. He married her three months later-the daughter of a showgirl and a Chicago industrialist- and they settled in Chicago where he went to Northwestern Law on the GI Bill. But the marriage was unhappy, and when I was ten and allowed to know such things, my aunt whispered that when it ended, my father was crushed. For him, New York was a fresh start. At thirty-one, he became publisher and president of Everywoman's magazine (later Family Circle), before moving on to run a thriving boutique advertising agency. He had no intention of remarrying. There hadn't been children with his first wife, and although he wanted them, he believed it wasn't possible. My father ran with a fast crowd, mostly Madison Avenue types like himself, and twice a month they held "scrambles." To all appearances, these were martini Sunday brunches at someone's Midtown apartment. But the point was women, and the rule was that each bachelor had to bring three "recruits," preferably models and no repeats. My mother went with her friend Tex, and although she was impressed by my father's Tudor City aerie, she recognized the situation for what it was and left quickly. She also found him annoying. He didn't like The Music Man, and she did. He, however, was smitten. Richer men, kinder men pursued my mother then, but my father was fun, and after a date or two, she decided that was what she wanted. On May 4, 1960, six days before Senator John Kennedy won the pivotal West Virginia primary, I was born, the child my father hadn't thought possible. He filled the room in the old wing of Lenox Hill Hospital with balloons and flowers, and smoked Partagas downstairs with his best friend, Lloyd. That summer, as they did for many summers to come, my parents rented an old farmhouse with nine bedrooms, a potbelly stove, two fireplaces, and a rickety old dock on Quantuck Bay, not far from the gabled house where they had married the year before. When I was small, my mother read the story of Cinderella to me every night, at my insistence, and when she tried to skip a page out of boredom, I knew. I didn't want the Disney version, although we had that, too. It stayed on the shelf by my ballerina music box, and she would alternate between the Perrault and the Grimm-the one with the talking doves, the wishing tree, and the blood in the shoe. And when I could read, I devoured every color of Andrew Lang's Fairy Books. I would ask my mother then to tell me the story of how my father had proposed. Her answer was always the same. One day we just started talking about it. One day we just knew. This horrified me. There was no kneeling, no meaningful locale, no diamond slipped into a champagne flute or buried in chocolate mousse. No glass slipper. I kept thinking she was hiding the truth from me and if I just bothered her enough, she'd tell. Despite my badgering, that never happened, and I vowed, as seven-year-olds do, that it would be different, far different, for me. Still-in the wedding pictures that filled the cream and gold binder, separate from the albums of my brothers and me and our birthdays and our bikes, there was a small crown in her hair that held the short veil in place, and her impossibly small waist was made smaller still by the starched crinoline of the dress. The dress stayed in a long, plaid cardboard box tied with twine on the top shelf of her closet at 142 East Seventy-first Street, the prewar building off Lexington Avenue that we moved to when I was three. It sat next to a portable green sewing machine and the hard case that held my father's letters home from the war. I'd look up at the box sometimes and wonder, even though I already knew that the puffed sleeves, sweetheart neck, and fluffy, girlish lines were not for me. I wanted satin-a dress that looked like the nightgown of a 1930s movie star-and an ivory mantilla that trailed the floor. During the Depression, my Nebraska grandmother had eloped a month shy of her seventeenth birthday in a red traveling suit with a cloche hat, and this fascinated me-along with the fact that she was the only divorced person I knew. Excerpted from Come to the Edge: A Memoir by Christina Haag All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.