In the final two essays, a letter to his grandsons and a reflection on religion, Updike moves into the self-consciousness of his later life.

Forgive Me Not

But as a result, the essays lose the playfulness and verge on self-importance, not self-consciousness. In all the essays, Updike makes offhand remarks that show a strong sense of his own significance, and the essays pick up this tone.

The first four are--like Updike's physical flaws--easily forgiven. The self-consciousness often comes as a wryness, a repetition of amusing bits of personal history which balance the self-importance with a likeable self-deprecation.

These essays prompt the sort of indulgence one gives a child. They avoid heaviness. The older Updike, however, takes himself too seriously. Ironically, he childishly exaggerates the importance of events in his maturity more than in his youth.

By linking the essays, Updike gives readers a full picture of his life. This format allows him to move from a recapitulation of important events to the less obvious, but often more relevant, influences on his personality.

For the most part the essays are enjoyable--an honest and profound look at America, at human success and failure and at growing up. They portray an era and are perhaps more meaningful than the slew of backward-looking books that vomit up recent social history.

But Updike's latest book takes what is important in his life and uses it to show what is important in any life.