As Simone confesses, “the further I drifted from any kind of central narrative,” the less this brief book has much of...
A short book about trying, and failing, to find something new to write about Madonna.
As a singer/songwriter–turned-writer, journalist and novelist (Note to Self, 2013, etc.) Simone recognizes both similarities and differences between her experience and Madonna’s. Trying to get a handle on her story, she begins at the beginning, traveling to Madonna’s birthplace of Bay City, Michigan, a city that seems to have an ambivalent relationship with her fame. Though the predictable trajectory would leave the launching pad of Michigan for the fame the artist found in Manhattan, where the author’s ambitions also took her, this book is all but stillborn in Bay City. From the start, she writes, “the logistics of writing a new book about Madonna, I soon discovered, were crushing,” with so much already out there, “and the truth was—I was failing.” There is some provocative analysis here, about how Madonna was both a woman of “ruthless ambition” and omnivorous sexuality, which is different than being someone who exploited her sexuality to get ahead (though perhaps she did that as well). There is a discussion about how stunning she was as a dancer before she became more professionally aerobicized and how the author felt that Sinéad O’Connor was the more epochal artist than Madonna before realizing that “Madonna started out as a freak and a loser, not so different from the flannelled freaks and losers I hailed as saviors.” At a point where Simone says she decided to give up and return her advance, the author circles back to Bay City, where she learned more about Question Mark and the Mysterians—who also originated there—than readers will learn about Madonna. The author delves far deeper into obscurity in her quest to discover what she can about the seminal Michigan heavy rock band Flying Wedge.
As Simone confesses, “the further I drifted from any kind of central narrative,” the less this brief book has much of anything to do with Madonna.Pub Date: March 1, 2016
ISBN: 978-0-292-75946-6
Page Count: 138
Publisher: Univ. of Texas
Review Posted Online: Jan. 19, 2016
Kirkus Reviews Issue: Feb. 1, 2016
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
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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