by Jared Yates Sexton ‧ RELEASE DATE: Sept. 12, 2017
Though it lacks the stinging punch of Thompson, the book is a useful snapshot of a tumultuous presidential race.
The 2016 election finds the author on a search for the real America.
Sexton (Creative Writing/Georgia Southern Univ.; I Am the Oil of the Engine of the World, 2016, etc.) found himself in the political cross hairs when some of his reportage on the Trump campaign drew attention—and even death threats—from his supporters. “Trump wasn’t the cause, he was the disease personified,” writes the author, and then continues, “Trump’s true talent was finding the pulse of these ignorant, livid people and playing them like a virtuoso strumming an instrument.” Yet these people are as recognizable to Sexton as his own family and the blue-collar milieu in which he was raised, and he understands how and why Hillary Clinton couldn’t connect with them. He has more of an affinity for Bernie Sanders, who inflamed the passions of the left just as Trump had with the right and whose campaign went from making a statement to a surprisingly strong bid for victory. The author reserves his deepest exasperation for those purists of the far left who refused to see a significant difference between Trump and Clinton and who even turned on Sanders when he attempted to unify the party. “They were purists,” he writes. “To them, there was right and then there was wrong.” Sexton’s campaign coverage comes from a ground-floor, grass-roots perspective. The only convention that gave him press credentials was that of the Green Party, so he generally writes from the periphery, among the crowds who sometimes seem more like mobs at the rallies. Whatever he learned didn’t make him more prescient, since pretty much until election night, he strongly believed (as did millions of others) that “Donald Trump will not be president.” His book sometimes feels like a leftist counterweight to Hillbilly Elegy, laced with shots of Hunter S. Thompson, and it’s clear that Sexton couldn’t believe what he had seen until it was too late.
Though it lacks the stinging punch of Thompson, the book is a useful snapshot of a tumultuous presidential race.Pub Date: Sept. 12, 2017
ISBN: 978-1-61902-956-9
Page Count: 320
Publisher: Counterpoint
Review Posted Online: July 2, 2017
Kirkus Reviews Issue: July 15, 2017
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PROFILES
by Howard Zinn ‧ RELEASE DATE: Jan. 1, 1979
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
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by Howard Zinn ; adapted by Rebecca Stefoff with by Ed Morales
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by Maya Angelou ‧ RELEASE DATE: Feb. 1, 1969
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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by Maya Angelou and illustrated by Steve Johnson and Lou Fancher
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