Sure to be a hot gag-gift item inside the Beltway—and to provoke angry tweets from 1600 Pennsylvania Ave.
A rollicking spoof by classically trained actor Baldwin (Nevertheless, 2017), who has made considerable hay in the past year as the foremost Donald Trump impersonator, and Spy magazine co-founder Andersen (Fantasyland: How America Went Haywire, 2017, etc.).
Teaming up with photographer Mark Seliger, who captures Baldwin in all his pouty-lower-lip majesty, the authors serve up a withering sendup of Trump, the aggressively repetitive “Me” of the title. Despite that brace of partners, without breaking persona, Baldwin/Trump insists that this memoir, “unlike my many previous excellent Trump books, which were typed up by subcontractors who interviewed me, is being created 100 percent by me.” Of course it is, just as Trump created all his wealth single-handedly—and, in any event, “what ‘professional writer’ could I trust to understand and truly love Trump?” It’s a good question. Baldwin/Trump charts his seemingly out-of-the-blue political rise to his close friendship with the much-despised Roy Cohn, who “was my mentor, and I was his John F. Kennedy, if Joseph Kennedy had been gay and Jewish and his son had been Protestant.” The lessons of the master stuck: make sure to get prenups and postnups, to get paid by the book and not the word (take that, publishers!), and to control the narrative about the rise from uptown bully to being “officially equal to or better than John F. Kennedy, George Washington, Ronald Reagan, Thomas Jefferson, Abe Lincoln, all of the Roosevelts.” The cumulative effect of the book, sad to say, is a bit depressing, for it captures its putative author in all his solipsistic, preening self-regard, all his insistence on his genius (“I mean, I’m a smart guy, graduated Wharton top of my class”), and all his nutty conspiracy theories. It’s all a bit much. But then, so is everything else about this president.
Sure to be a hot gag-gift item inside the Beltway—and to provoke angry tweets from 1600 Pennsylvania Ave.Pub Date: Nov. 7, 2017
ISBN: 978-0-525-52199-0
Page Count: 256
Publisher: Penguin Press
Review Posted Online: Nov. 7, 2017
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
However charily one should apply the word, a beautiful book, an unconditionally involving memoir for our time or any time.
Maya Angelou is a natural writer with an inordinate sense of life and she has written an exceptional autobiographical narrative which retrieves her first sixteen years from "the general darkness just beyond the great blinkers of childhood."
Her story is told in scenes, ineluctably moving scenes, from the time when she and her brother were sent by her fancy living parents to Stamps, Arkansas, and a grandmother who had the local Store. Displaced they were and "If growing up is painful for the Southern Black girl, being aware of her displacement is the rust on the razor that threatens the throat." But alternating with all the pain and terror (her rape at the age of eight when in St. Louis With her mother) and humiliation (a brief spell in the kitchen of a white woman who refused to remember her name) and fear (of a lynching—and the time they buried afflicted Uncle Willie under a blanket of vegetables) as well as all the unanswered and unanswerable questions, there are affirmative memories and moments: her charming brother Bailey; her own "unshakable God"; a revival meeting in a tent; her 8th grade graduation; and at the end, when she's sixteen, the birth of a baby. Times When as she says "It seemed that the peace of a day's ending was an assurance that the covenant God made with children, Negroes and the crippled was still in effect."
However charily one should apply the word, a beautiful book, an unconditionally involving memoir for our time or any time.Pub Date: Feb. 1, 1969
ISBN: 0375507892
Page Count: 235
Publisher: Random House
Review Posted Online: May 14, 2012
Kirkus Reviews Issue: Feb. 1, 1969
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