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THE PHILOSOPHY OF EXPLANATION

An earnest but overbearing case against God and religion.

A grieving father explores philosophical questions pertaining to the human experience in this memoir.

Peterson’s daughter, Kristin, died of endocardial fibroelastosis in 1980. She was severely mentally impaired; at the age of 9, she couldn’t “put more than two or three words together to form a sentence,” the author says, but he fondly recalls, more than four decades later, her “keen sense of humor.” The girl’s traumatic life and death were the topic of Peterson’s first book, The Mind of God (2004), and they continue to ground the author’s perspective in this follow-up, which advances arguments he previously made about the irrationality of religion. However, although this work doesn’t shy away from exploring his personal story, he asserts that it's a “very different” book, focusing on a reason-based philosophical approach to understanding his experiences in a larger context. He notes that reassuring religious platitudes, such as “God so loves your child that he personally summoned her home,” may soothe the grief of Christian parents; Peterson, however, takes bitter umbrage toward God. Although he presents God in this book as a nonexistent “no-thing,” the deity remains a central figure in his philosophical critique of religion. The author even connects nominally secular topics to God: Where “capitalism produces more goods,” Peterson says, God “produces more humans.” The author admits that religious readers “may have difficulty” with his approach, which not only argues against the existence of a benevolent God, but also claims that there’s a “close link” between religion and “insanity.” Eternal salvation, a linchpin to Christianity and other world religions, is represented here as stemming from humanity’s selfish motivation to find “personal happiness.” The book’s proffered “rational alternative” focuses on how language explains human experiences and purpose as part of what “takes place in reality.”

Based on an Aristotelian notion that natural, observable “truths” should guide human expression, the book challenges not only traditional religious explanations, but also postmodern philosophical ideas of relativity. Peterson, a retired engineer, has a keen, rational mind, presenting a straightforward case while broaching deeply emotional topics, from death and grief to happiness and ethics. His accessible prose is accompanied by useful charts, diagrams, and other visual aids that reinforce its logical progressions. When the author talks about his daughter, however, his stoic tone shifts to one of indignation and anguish, and it does so with powerful prose. Readers may find that the book’s critique of religion, while not particularly novel, makes rational sense; however, it often reduces religious people to vague straw men, and it doesn’t analyze the specificities of spiritual doctrines in any meaningful way. The book’s acerbic, brash style, including references to “religiously imposed mental illness” and a “jungle savage,” is likely to alienate readers who may otherwise be sympathetic to its arguments. Philosophers and scholars may also take issue with the book’s lack of citations or meaningful dialogue with other writings that address the same themes. Deeper engagement with the science of linguistics might have also strengthened its analysis.

An earnest but overbearing case against God and religion.

Pub Date: N/A

ISBN: 9781452046204

Page Count: 134

Publisher: Dorrance Publishing Co.

Review Posted Online: Jan. 6, 2023

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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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