The author refers to herself as “an observational ironist,” and her incisive comments on black life’s contradictions make...
This extraordinary set of autobiographical essays gives insight into a black woman’s life in the arts: everything from joining the Black Panthers to avoiding African-American chick lit.
Juanita (Virgin Soul, 2013) grew up in Oakland, California, in the 1950s. She remembers a “goody-goody” childhood of reading, spelling bees, and chores. America at the time was “a Jell-O & white bread land of perfection and gleaming surfaces,” she notes in her essay “White Out”; the only blacks on screen played mammies and maids. She joined the Black Panthers at San Francisco State in 1966 and became a junior faculty member in its Black Studies department—the nation’s first. In perhaps the most powerful piece in the collection, “The Gun as Ultimate Performance Poem,” written after the death of Trayvon Martin, Juanita sensitively discusses the split in the Black Panthers over carrying guns. She liked guns’ symbolic associations and even kept one in her purse while working at a post office. But she now recognizes the disastrous consequences of romanticizing a weapon: “It was Art. It was Metaphor. It was loaded with meaning and death.” In another standout, “The N-word,” she boldly explores the disparate contexts in which the epithet appears: in August Wilson’s play Fences, in comedy routines, and intimately between friends. “It’s not problem or solution; it’s an indication,” she concludes. The title essay contends that black women are de facto feminists because they’re so often reduced to single parenting in poverty. Elsewhere, she discusses relationships between black men and women, recalls rediscovering poetry as a divorcée with an 8-year-old son in New Jersey (“Tough Luck,” which includes her own poems), remembers a time spent cleaning condos, and remarks that Terry McMillan has ensured that a “black female writer not writing chick lit has an uphill challenge.”
The author refers to herself as “an observational ironist,” and her incisive comments on black life’s contradictions make this essay collection a winner.Pub Date: Oct. 31, 2016
ISBN: 978-0-9716352-1-0
Page Count: 230
Publisher: EquiDistance Press
Review Posted Online: Dec. 29, 2016
Kirkus Reviews Issue: Feb. 1, 2017
Review Program: Kirkus Indie
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
PROFILES
PERSPECTIVES
An autobiography as toxic and addictive as any drug its author has ever ingested.
The legendary booze-addled metal rocker turned reality-TV star comes clean in his tell-all autobiography.
Although brought up in the bleak British factory town of Aston, John “Ozzy” Osbourne’s tragicomic rags-to-riches tale is somehow quintessentially American. It’s an epic dream/nightmare that takes him from Winson Green prison in 1966 to a presidential dinner with George W. Bush in 2004. Tracing his adult life from petty thief and slaughterhouse worker to rock star, Osbourne’s first-person slang-and-expletive-driven style comes off like he’s casually relating his story while knocking back pints at the pub. “What you read here,” he writes, “is what dribbled out of the jelly I call my brain when I asked it for my life story.” During the late 1960s his transformation from inept shoplifter to notorious Black Sabbath frontman was unlikely enough. In fact, the band got its first paying gigs by waiting outside concert venues hoping the regularly scheduled act wouldn’t show. After a few years, Osbourne and his bandmates were touring America and becoming millionaires from their riff-heavy doom music. As expected, with success came personal excess and inevitable alienation from the other members of the group. But as a solo performer, Osbourne’s predilection for guns, drink, drugs, near-death experiences, cruelty to animals and relieving himself in public soon became the stuff of legend. His most infamous exploits—biting the head off a bat and accidentally urinating on the Alamo—are addressed, but they seem tame compared to other dark moments of his checkered past: nearly killing his wife Sharon during an alcohol-induced blackout, waking up after a bender in the middle of a busy highway, burning down his backyard, etc. Osbourne is confessional to a fault, jeopardizing his demonic-rocker reputation with glib remarks about his love for Paul McCartney and Robin Williams. The most distinguishing feature of the book is the staggering chapter-by-chapter accumulation of drunken mishaps, bodily dysfunctions and drug-induced mayhem over a 40-plus-year career—a résumé of anti-social atrocities comparable to any of rock ’n’ roll’s most reckless outlaws.
An autobiography as toxic and addictive as any drug its author has ever ingested.Pub Date: Jan. 25, 2010
ISBN: 978-0-446-56989-7
Page Count: 320
Publisher: Grand Central Publishing
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 1, 2009
IN THE NEWS
This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)
Pub Date: Oct. 28, 1996
ISBN: 0-15-100227-4
Page Count: 136
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1996
BOOK REVIEW
BOOK REVIEW
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