Fierce and informed riffs on current events and enduring challenges.
Essays, op-eds, and pop-culture pieces from the acclaimed novelist and memoirist.
The decision by the New York Times to hire Gay as an opinion writer in 2014 was a no-brainer: She has a gift for clean, well-ordered prose, and strong feelings on matters of race, gender, and sexuality. Most important, she possesses a fearlessness essential to doing the job right; though she can observe an issue from various angles, she never wrings her hands or delivers milquetoast commentaries. As she writes in the introduction, “On the page, I get to be the boldest, most audacious version of myself.” According to the author, police officers shouldn’t march in pride parades, and Louis C.K. isn’t owed a second chance. To Kill a Mockingbird is overrated, and Dylann Roof, the white supremacist who killed nine black churchgoers in 2015, doesn’t deserve the forgiveness the victims’ families gave him. Planted firmly on the left, Gay's thoughts on Trump, #metoo, and Black Lives Matter are predictable, but they are engaging in their ferocity all the same. That’s partly because she comes to her opinions more out of empathy than ideology, which is why she’s also served well as an advice columnist for the Times (a few examples of her columns are included). Like any op-ed writer, she sometimes contradicts herself. For example, a piece explaining her refusal to sign a petition condemning a TV show because “creators are allowed to make bad, irresponsible, problematic art” follows a piece arguing the Roseanne reboot shouldn’t have been made. Mostly, however, Gay is consistent, and the squishiness is relegated to puff pieces profiling Madonna, Janelle Monáe, Tessa Thompson, and others. The author may spit fire in her essays, but even she can’t penetrate the PR armor in which Nicki Minaj has encased herself.
Fierce and informed riffs on current events and enduring challenges.Pub Date: Oct. 10, 2023
ISBN: 9780063341463
Page Count: 320
Publisher: Harper/HarperCollins
Review Posted Online: Aug. 3, 2023
Kirkus Reviews Issue: Sept. 1, 2023
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
For Howard Zinn, long-time civil rights and anti-war activist, history and ideology have a lot in common. Since he thinks that everything is in someone's interest, the historian—Zinn posits—has to figure out whose interests he or she is defining/defending/reconstructing (hence one of his previous books, The Politics of History). Zinn has no doubts about where he stands in this "people's history": "it is a history disrespectful of governments and respectful of people's movements of resistance." So what we get here, instead of the usual survey of wars, presidents, and institutions, is a survey of the usual rebellions, strikes, and protest movements. Zinn starts out by depicting the arrival of Columbus in North America from the standpoint of the Indians (which amounts to their standpoint as constructed from the observations of the Europeans); and, after easily establishing the cultural disharmony that ensued, he goes on to the importation of slaves into the colonies. Add the laborers and indentured servants that followed, plus women and later immigrants, and you have Zinn's amorphous constituency. To hear Zinn tell it, all anyone did in America at any time was to oppress or be oppressed; and so he obscures as much as his hated mainstream historical foes do—only in Zinn's case there is that absurd presumption that virtually everything that came to pass was the work of ruling-class planning: this amounts to one great indictment for conspiracy. Despite surface similarities, this is not a social history, since we get no sense of the fabric of life. Instead of negating the one-sided histories he detests, Zinn has merely reversed the image; the distortion remains.
Pub Date: Jan. 1, 1979
ISBN: 0061965588
Page Count: 772
Publisher: Harper & Row
Review Posted Online: May 26, 2012
Kirkus Reviews Issue: Jan. 1, 1979
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
A virtuoso performance and an ode to an undervalued medium created by two talented artists.
The veteran actor, comedian, and banjo player teams up with the acclaimed illustrator to create a unique book of cartoons that communicates their personalities.
Martin, also a prolific author, has always been intrigued by the cartoons strewn throughout the pages of the New Yorker. So when he was presented with the opportunity to work with Bliss, who has been a staff cartoonist at the magazine since 1997, he seized the moment. “The idea of a one-panel image with or without a caption mystified me,” he writes. “I felt like, yeah, sometimes I’m funny, but there are these other weird freaks who are actually funny.” Once the duo agreed to work together, they established their creative process, which consisted of working forward and backward: “Forwards was me conceiving of several cartoon images and captions, and Harry would select his favorites; backwards was Harry sending me sketched or fully drawn cartoons for dialogue or banners.” Sometimes, he writes, “the perfect joke occurs two seconds before deadline.” There are several cartoons depicting this method, including a humorous multipanel piece highlighting their first meeting called “They Meet,” in which Martin thinks to himself, “He’ll never be able to translate my delicate and finely honed droll notions.” In the next panel, Bliss thinks, “I’m sure he won’t understand that the comic art form is way more subtle than his blunt-force humor.” The team collaborated for a year and created 150 cartoons featuring an array of topics, “from dogs and cats to outer space and art museums.” A witty creation of a bovine family sitting down to a gourmet meal and one of Dumbo getting his comeuppance highlight the duo’s comedic talent. What also makes this project successful is the team’s keen understanding of human behavior as viewed through their unconventional comedic minds.
A virtuoso performance and an ode to an undervalued medium created by two talented artists.Pub Date: Nov. 17, 2020
ISBN: 978-1-250-26289-9
Page Count: 272
Publisher: Celadon Books
Review Posted Online: Aug. 30, 2020
Kirkus Reviews Issue: Sept. 15, 2020
PERSPECTIVES
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