A bleak, formidable chronicle of the increasingly deforested world of the Amazon.
A Brazilian reporter offers a “destructured” portrait of the Amazon’s collapse in terms of biosphere and Indigenous culture.
In her second book, following The Collector of Leftover Souls: Field Notes on Brazil’s Everyday Insurrections, Brum adopts an unconventional form to her work as a way of shedding the uncomfortable colonial connotations of her own Whiteness. The author, who lives in Altamira, in the Amazon jungle, writes with enormous empathy about the Indigenous people who, over the centuries, have learned to regard the rapacious Whites as “enemies” who have largely destroyed the Amazon rainforest. Brum describes her work with other researchers in Altamira, where she has studied historical ecology, “the field of study that explores how humans have interacted with the environment across space and time….Part of the Amazon is a cultural forest, meaning it has been sculpted over the course of thousands of years, mainly by humans, but also by nonhumans, the ones we call ‘animals,’ through their interactions with the environment.” As the author shows, most of the Indigenous people of the rainforest have been decimated by disease and violence. Brum is keenly aware of the disconnect between the White rhetoric about “ecology” and the Indigenous practice of being one with the forest, and she writes fervently about the massive deforestation that has been ongoing for decades. The author excoriates the right-wing administration of Jair Bolsonaro, elected in 2018, as having brought the country to a “climate emergency.” While connecting “with the forest and the women of the forest,” she writes, “deforestation, the destruction of nature, the contamination of rivers with mercury and pesticides—this became a lived experience of violence within my own body as well.” A relentless critic, she asserts that “exploitation by white people in the name of ‘progress’ is a political operation meant to erase everything that existed before.”
A bleak, formidable chronicle of the increasingly deforested world of the Amazon.Pub Date: March 7, 2023
ISBN: 9781644452196
Page Count: 416
Publisher: Graywolf
Review Posted Online: Dec. 12, 2022
Kirkus Reviews Issue: Jan. 1, 2023
BOOK REVIEW
An ebullient nature lover’s paean to birds.
A charming bird journey with the bestselling author.
In his introduction to Tan’s “nature journal,” David Allen Sibley, the acclaimed ornithologist, nails the spirit of this book: a “collection of delightfully quirky, thoughtful, and personal observations of birds in sketches and words.” For years, Tan has looked out on her California backyard “paradise”—oaks, periwinkle vines, birch, Japanese maple, fuchsia shrubs—observing more than 60 species of birds, and she fashions her findings into delightful and approachable journal excerpts, accompanied by her gorgeous color sketches. As the entries—“a record of my life”—move along, the author becomes more adept at identifying and capturing them with words and pencils. Her first entry is September 16, 2017: Shortly after putting up hummingbird feeders, one of the tiny, delicate creatures landed on her hand and fed. “We have a relationship,” she writes. “I am in love.” By August 2018, her backyard “has become a menagerie of fledglings…all learning to fly.” Day by day, she has continued to learn more about the birds, their activities, and how she should relate to them; she also admits mistakes when they occur. In December 2018, she was excited to observe a Townsend’s Warbler—“Omigod! It’s looking at me. Displeased expression.” Battling pesky squirrels, Tan deployed Hot Pepper Suet to keep them away, and she deterred crows by hanging a fake one upside down. The author also declared war on outdoor cats when she learned they kill more than 1 billion birds per year. In May 2019, she notes that she spends $250 per month on beetle larvae. In June 2019, she confesses “spending more hours a day staring at birds than writing. How can I not?” Her last entry, on December 15, 2022, celebrates when an eating bird pauses, “looks and acknowledges I am there.”
An ebullient nature lover’s paean to birds.Pub Date: April 23, 2024
ISBN: 9780593536131
Page Count: 320
Publisher: Knopf
Review Posted Online: Jan. 19, 2024
Kirkus Reviews Issue: Feb. 15, 2024
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
A fierce, penetrating, and empowering call for change.
Artist and activist Vaid-Menon demonstrates how the normativity of the gender binary represses creativity and inflicts physical and emotional violence.
The author, whose parents emigrated from India, writes about how enforcement of the gender binary begins before birth and affects people in all stages of life, with people of color being especially vulnerable due to Western conceptions of gender as binary. Gender assignments create a narrative for how a person should behave, what they are allowed to like or wear, and how they express themself. Punishment of nonconformity leads to an inseparable link between gender and shame. Vaid-Menon challenges familiar arguments against gender nonconformity, breaking them down into four categories—dismissal, inconvenience, biology, and the slippery slope (fear of the consequences of acceptance). Headers in bold font create an accessible navigation experience from one analysis to the next. The prose maintains a conversational tone that feels as intimate and vulnerable as talking with a best friend. At the same time, the author's turns of phrase in moments of deep insight ring with precision and poetry. In one reflection, they write, “the most lethal part of the human body is not the fist; it is the eye. What people see and how people see it has everything to do with power.” While this short essay speaks honestly of pain and injustice, it concludes with encouragement and an invitation into a future that celebrates transformation.
A fierce, penetrating, and empowering call for change. (writing prompt) (Nonfiction. 14-adult)Pub Date: June 2, 2020
ISBN: 978-0-593-09465-5
Page Count: 64
Publisher: Penguin Workshop
Review Posted Online: March 14, 2020
Kirkus Reviews Issue: April 1, 2020
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