The virtues of Attenberg's fiction—story, characters, black humor—are largely missing in her first nonfiction book.
A novelist at midlife takes stock of her personal history and accomplishments.
In this extended reflection, Attenberg offers fans of her fiction the opportunity to get to know her more intimately. "I own these words. I own these ideas. Here is my book." With these sentences, the prologue to the author’s debut memoir closes on a note of anxious self-assertion that becomes more pronounced as the narrative progresses. A loose chronicle of her jobs, homes, and travels, the book is divided into three parts that cover similar ground chronologically. Attenberg mentions several friendships with other writers—some warmly, other less so. "Writers meet for drinks for different reasons," she explains, recalling an essayist who arranged a meeting to ferret out the secret of her success with a book that appears to be The Middlesteins (2012)—though her novels are not named in this book. Attenberg criticizes the other writer for wanting to pick her brain “as if [it] were a carryout salad.” Later, after receiving a copy of Olive Kitteridge, she writes, “we receive so much from other writers when they show us how it's done….We must chew on the words of others.” In another passage, Attenberg remembers a college classmate who was at first a friend but then assaulted her; the man had recently committed suicide. "Then I read a status update on Facebook by someone who had been in our writing program,” she writes, “and he mourned him and said, ‘He was the best writer in our class,’ and I wanted to fucking scream, because I was the best writer in our class.” At the end, Attenberg provides a summary of her flaws and judgment errors, wondering if she deserves to be happy. Though she is "a better person now," she "will never be perfect." Nobody is, but readers of the author’s wonderful novels may expect more.
The virtues of Attenberg's fiction—story, characters, black humor—are largely missing in her first nonfiction book.Pub Date: Jan. 11, 2022
ISBN: 978-0-06-303979-7
Page Count: 272
Publisher: Ecco/HarperCollins
Review Posted Online: Aug. 30, 2021
Kirkus Reviews Issue: Sept. 15, 2021
A blissfully vicarious, heartfelt glimpse into the life of a Manhattan burlesque dancer.
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
Essential reading for any Twain buff and student of American literature.
A decidedly warts-and-all portrait of the man many consider to be America’s greatest writer.
It makes sense that distinguished biographer Chernow (Washington: A Life and Alexander Hamilton) has followed up his life of Ulysses S. Grant with one of Mark Twain: Twain, after all, pulled Grant out of near bankruptcy by publishing the ex-president’s Civil War memoir under extremely favorable royalty terms. The act reflected Twain’s inborn generosity and his near pathological fear of poverty, the prime mover for the constant activity that characterized the author’s life. As Chernow writes, Twain was “a protean figure who played the role of printer, pilot, miner, journalist, novelist, platform artist, toastmaster, publisher, art patron, pundit, polemicist, inventor, crusader, investor, and maverick.” He was also slippery: Twain left his beloved Mississippi River for the Nevada gold fields as a deserter from the Confederate militia, moved farther west to California to avoid being jailed for feuding, took up his pseudonym to stay a step ahead of anyone looking for Samuel Clemens, especially creditors. Twain’s flaws were many in his own day. Problematic in our own time is a casual racism that faded as he grew older (charting that “evolution in matters of racial tolerance” is one of the great strengths of Chernow’s book). Harder to explain away is Twain’s well-known but discomfiting attraction to adolescent and even preadolescent girls, recruiting “angel-fish” to keep him company and angrily declaring when asked, “It isn’t the public’s affair.” While Twain emerges from Chernow’s pages as the masterful—if sometimes wrathful and vengeful—writer that he is now widely recognized to be, he had other complexities, among them a certain gullibility as a businessman that kept that much-feared poverty often close to his door, as well as an overarchingly gloomy view of the human condition that seemed incongruous with his reputation, then and now, as a humanist.
Essential reading for any Twain buff and student of American literature.Pub Date: May 13, 2025
ISBN: 9780525561729
Page Count: 1200
Publisher: Penguin Press
Review Posted Online: Feb. 1, 2025
Kirkus Reviews Issue: March 1, 2025
© Copyright 2025 Kirkus Media LLC. All Rights Reserved.
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