A moving reflection on a profound loss.
Ghost story.
Invited to contribute to a collection of imagined letters, Nobel Prize winner Ernaux addresses the sister she never knew. She was 10 when she overheard her mother disclose to a friend that Annie was not her first child. There had been another daughter, who died of diphtheria in 1938 when she was 6. “She died like a little saint,” her mother said. And “she was nicer than the other one.” The other one being the daughter born two years later: Annie. The idea of her dead sister haunted Ernaux throughout her childhood and haunts her still. Growing up, she never asked her parents, relatives, or family friends about the girl, whose name, she learned, was Ginette. She saw no photos of her until, when she was 18, she found a cache hidden in the attic, in a box accidentally left open. Because her parents were clear that they wanted only one child, she understood that her existence had depended on her sister’s death. “I was aware of my advantages as an only child,” she admits, “a child born after the death of another, the pampered object of a worried solicitude.” She had been a delicate child, and when she was 5, a cut from a rusty nail gave her tetanus. Her mother, frantic, dosed her with water from Lourdes. “I had to come to terms with this mysterious contradiction,” she reflected later: “you, the good girl, the little saint, were not saved, and I, the demon, survived. Not only survived, was miraculously saved.” Ernaux sees her letter to Ginette, then, as a way to “repay an imaginary debt by giving you, in turn, the existence your death gave me”—or to exorcise a spirit.
A moving reflection on a profound loss.Pub Date: Sept. 23, 2025
ISBN: 9781644214879
Page Count: 96
Publisher: Seven Stories
Review Posted Online: June 13, 2025
Kirkus Reviews Issue: July 15, 2025
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
It’s not Shakespeare, not by a long shot. But at least it’s not James Franco.
A noted actor turns to verse: “Poems are a Saturday in the middle of the week.”
McConaughey, author of the gracefully written memoir Greenlights, has been writing poems since his teens, closing with one “written in an Australian bathtub” that reads just as a poem by an 18-year-old (Rimbaud excepted) should read: “Ignorant minds of the fortunate man / Blind of the fate shaping every land.” McConaughey is fearless in his commitment to the rhyme, no matter how slight the result (“Oops, took a quick peek at the sky before I got my glasses, / now I can’t see shit, sure hope this passes”). And, sad to say, the slight is what is most on display throughout, punctuated by some odd koanlike aperçus: “Eating all we can / at the all-we-can-eat buffet, / gives us a 3.8 education / and a 4.2 GPA.” “Never give up your right to do the next right thing. This is how we find our way home.” “Memory never forgets. Even though we do.” The prayer portion of the program is deeply felt, but it’s just as sentimental; only when he writes of life-changing events—a court appearance to file a restraining order against a stalker, his decision to quit smoking weed—do we catch a glimpse of the effortlessly fluent, effortlessly charming McConaughey as exemplified by the David Wooderson (“alright, alright, alright”) of Dazed and Confused. The rest is mostly a soufflé in verse. McConaughey’s heart is very clearly in the right place, but on the whole the book suggests an old saw: Don’t give up your day job.
It’s not Shakespeare, not by a long shot. But at least it’s not James Franco.Pub Date: Sept. 16, 2025
ISBN: 9781984862105
Page Count: 208
Publisher: Crown
Review Posted Online: Aug. 15, 2025
Kirkus Reviews Issue: Sept. 15, 2025
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
A blissfully vicarious, heartfelt glimpse into the life of a Manhattan burlesque dancer.
A former New York City dancer reflects on her zesty heyday in the 1970s.
Discovered on a Manhattan street in 2020 and introduced on Stanton’s Humans of New York Instagram page, Johnson, then 76, shares her dynamic history as a “fiercely independent” Black burlesque dancer who used the stage name Tanqueray and became a celebrated fixture in midtown adult theaters. “I was the only black girl making white girl money,” she boasts, telling a vibrant story about sex and struggle in a bygone era. Frank and unapologetic, Johnson vividly captures aspects of her former life as a stage seductress shimmying to blues tracks during 18-minute sets or sewing lingerie for plus-sized dancers. Though her work was far from the Broadway shows she dreamed about, it eventually became all about the nightly hustle to simply survive. Her anecdotes are humorous, heartfelt, and supremely captivating, recounted with the passion of a true survivor and the acerbic wit of a weathered, street-wise New Yorker. She shares stories of growing up in an abusive household in Albany in the 1940s, a teenage pregnancy, and prison time for robbery as nonchalantly as she recalls selling rhinestone G-strings to prostitutes to make them sparkle in the headlights of passing cars. Complemented by an array of revealing personal photographs, the narrative alternates between heartfelt nostalgia about the seedier side of Manhattan’s go-go scene and funny quips about her unconventional stage performances. Encounters with a variety of hardworking dancers, drag queens, and pimps, plus an account of the complexities of a first love with a drug-addled hustler, fill out the memoir with personality and candor. With a narrative assist from Stanton, the result is a consistently titillating and often moving story of human struggle as well as an insider glimpse into the days when Times Square was considered the Big Apple’s gloriously unpolished underbelly. The book also includes Yee’s lush watercolor illustrations.
A blissfully vicarious, heartfelt glimpse into the life of a Manhattan burlesque dancer.Pub Date: July 12, 2022
ISBN: 978-1-250-27827-2
Page Count: 192
Publisher: St. Martin's
Review Posted Online: July 27, 2022
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