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NOT IN VAIN, A PROMISE KEPT

An unflinching chronicle of loss that takes a hard look at the state of medical care in the United States.

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A family copes with a cancer diagnosis and the unforeseen challenges of the U.S. health care system in this debut memoir.

Mullamphys’ mother, Constance E. Burns, was “a fighter from the very beginning,” according to the author. She was born in New York state in 1942, weighing only two pounds, but managed to survive. She was the sole daughter in a family with four brothers; the author characterizes her as a giving woman and a well-liked restaurant server who worked very hard, but who also had an aversion to going to the doctor. When she finally did, after falling ill in 2010, physicians discovered that she had a 15-pound tumor on her ovary; she was soon diagnosed with ovarian cancer, along with other ailments, including a hiatal hernia, gastritis, and hemorrhoids. Mullamphy documents her mother’s numerous appointments over the course of eight months, which included chemotherapy sessions and surgeries before she died in December 2010. At the end of each chapter is a “Things We Learned” recap, which includes such insights as “Get to know the nurses on the floor,” which the family learned in May, and that “having a better schedule and consistency in staff would have made [hospice] easier,” which they discovered in the final month of Constance’s life.

Over the course of this book, the descriptions of the author’s mother’s worsening symptoms are chilling, but the most disturbing parts are those that recount the family’s struggles with the health care system. In one case, for instance, Mullamphy writes that she suspected that her mother, who suffered from constant, severe nausea, had been poisoned by excessive chemotherapy, which an oncologist later confirmed. What sets the author’s work apart from other memoirs of grief, however, are her expressions of anger a decade since her mother’s passing, and how accessible she makes these emotions to the reader. She tells of doggedly pursuing answers while dealing with seemingly apathetic doctors, and her layman’s translations of medical jargon even offer occasional lighter moments: “What the hell is platelet apheresis? It is a big machine similar to dialysis…like a rinse cycle, but it removes extra junk that can kill you instead of cleaning clothes.” The author writes that she worked on this book for a decade as a promise to her mother, expressed in the title. In it, she’s candid about the ugly parts of her own grieving process, including accounts of her worsening performance at a corporate reinsurance company, and the seizures she endured, in part, as the result of stress; she was eventually diagnosed with a neurocognitive disorder in 2013. Mullamphy’s impressions of her mother’s medical care oscillate throughout the work, but may be summed up with the dictum that one shouldn’t blindly trust medical staff “because human error happens.” She also effectively stresses how important it is “to watch over your loved ones and advocate for them when they cannot or won’t.”

An unflinching chronicle of loss that takes a hard look at the state of medical care in the United States.

Pub Date: Dec. 15, 2021

ISBN: 978-1-73480-262-7

Page Count: 124

Publisher: Self

Review Posted Online: May 11, 2022

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  • New York Times Bestseller

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TANQUERAY

A blissfully vicarious, heartfelt glimpse into the life of a Manhattan burlesque dancer.

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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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LOVE, PAMELA

A juicy story with some truly crazy moments, yet Anderson's good heart shines through.

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The iconic model tells the story of her eventful life.

According to the acknowledgments, this memoir started as "a fifty-page poem and then grew into hundreds of pages of…more poetry." Readers will be glad that Anderson eventually turned to writing prose, since the well-told anecdotes and memorable character sketches are what make it a page-turner. The poetry (more accurately described as italicized notes-to-self with line breaks) remains strewn liberally through the pages, often summarizing the takeaway or the emotional impact of the events described: "I was / and still am / an exceptionally / easy target. / And, / I'm proud of that." This way of expressing herself is part of who she is, formed partly by her passion for Anaïs Nin and other writers; she is a serious maven of literature and the arts. The narrative gets off to a good start with Anderson’s nostalgic memories of her childhood in coastal Vancouver, raised by very young, very wild, and not very competent parents. Here and throughout the book, the author displays a remarkable lack of anger. She has faced abuse and mistreatment of many kinds over the decades, but she touches on the most appalling passages lightly—though not so lightly you don't feel the torment of the media attention on the events leading up to her divorce from Tommy Lee. Her trip to the pages of Playboy, which involved an escape from a violent fiance and sneaking across the border, is one of many jaw-dropping stories. In one interesting passage, Julian Assange's mother counsels Anderson to desexualize her image in order to be taken more seriously as an activist. She decided that “it was too late to turn back now”—that sexy is an inalienable part of who she is. Throughout her account of this kooky, messed-up, enviable, and often thrilling life, her humility (her sons "are true miracles, considering the gene pool") never fails her.

A juicy story with some truly crazy moments, yet Anderson's good heart shines through.

Pub Date: Jan. 31, 2023

ISBN: 9780063226562

Page Count: 256

Publisher: Dey Street/HarperCollins

Review Posted Online: Dec. 5, 2022

Kirkus Reviews Issue: Jan. 1, 2023

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