VAMPS AND TRAMPS

NEW ESSAYS

Those who missed them in Playboy, The New Republic, and other media can catch up with culture diva Paglia's latest performances here. The special effects are as spectacular as ever; the act, however, is getting old. As in her previous collection, Sex, Art, and American Culture (not reviewed), Paglia fills this volume with every magazine piece of hers from the last few years, transcripts of her TV appearances, an annotated bibliography of media references to her, and even a section of cartoons in which she was featured. Paglia's production is like a three-ring circus. There's competent journalistic cultural criticism on one side, encompassing appreciations of figures like Sandra Bernhard and Amy Fisher, and reviews of books by Madonna and Edward Said. Paglia's well-publicized polemic against feminist and gay movement dogma, which continues here, hasn't gained any subtlety. Her loose use of the opprobrium ``Stalinist'' will strike those misguided readers who take her essays on ``culture war'' topics seriously as genuinely offensive. In another ring, there's batty scholarship. A long essay written especially for this volume offers a ``pagan theory of sexuality'' for the contemporary world. Those seeking rigor will be warned off by the fact that Paglia's title for this piece is taken from dialogue in the movie Ben Hur. The really compelling action comes in the center ring, where the carnival of Paglia's construction of her own persona never stops. Her straightforwardly autobiographical writing is brilliant. One moving memoir celebrates the formative influence on her of four gifted and rebellious gay male friends; another hilariously revisits the promise and the pomposity of the Susan Sontag whom the young Camille Paglia idolized. Inspired by Sontag, Paglia exclaims that ``we need more women stars who can run their own studios!'' Paglia herself has become a star, and as such she inevitably fascinates. But she often seems miscast as an intellectual leader, mirroring as she does another aspect of her image of Sontag: ``no argument, only collage.''

Pub Date: Nov. 1, 1994

ISBN: 0-679-75120-3

Page Count: 560

Publisher: Vintage

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Sept. 15, 1994

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A Churchill-ian view of native history—Ward, that is, not Winston—its facts filtered through a dense screen of ideology.

AN INDIGENOUS PEOPLES' HISTORY OF THE UNITED STATES

Custer died for your sins. And so, this book would seem to suggest, did every other native victim of colonialism.

Inducing guilt in non-native readers would seem to be the guiding idea behind Dunbar-Ortiz’s (Emerita, Ethnic Studies/California State Univ., Hayward; Blood on the Border: A Memoir of the Contra War, 2005, etc.) survey, which is hardly a new strategy. Indeed, the author says little that hasn’t been said before, but she packs a trove of ideological assumptions into nearly every page. For one thing, while “Indian” isn’t bad, since “[i]ndigenous individuals and peoples in North America on the whole do not consider ‘Indian’ a slur,” “American” is due to the fact that it’s “blatantly imperialistic.” Just so, indigenous peoples were overwhelmed by a “colonialist settler-state” (the very language broadly applied to Israelis vis-à-vis the Palestinians today) and then “displaced to fragmented reservations and economically decimated”—after, that is, having been forced to live in “concentration camps.” Were he around today, Vine Deloria Jr., the always-indignant champion of bias-puncturing in defense of native history, would disavow such tidily packaged, ready-made, reflexive language. As it is, the readers who are likely to come to this book—undergraduates, mostly, in survey courses—probably won’t question Dunbar-Ortiz’s inaccurate assertion that the military phrase “in country” derives from the military phrase “Indian country” or her insistence that all Spanish people in the New World were “gold-obsessed.” Furthermore, most readers won’t likely know that some Ancestral Pueblo (for whom Dunbar-Ortiz uses the long-abandoned term “Anasazi”) sites show evidence of cannibalism and torture, which in turn points to the inconvenient fact that North America wasn’t entirely an Eden before the arrival of Europe.

A Churchill-ian view of native history—Ward, that is, not Winston—its facts filtered through a dense screen of ideology.

Pub Date: Sept. 16, 2014

ISBN: 978-0-8070-0040-3

Page Count: 296

Publisher: Beacon Press

Review Posted Online: Aug. 18, 2014

Kirkus Reviews Issue: Sept. 15, 2014

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Not an easy read but an essential one.

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HOW TO BE AN ANTIRACIST

Title notwithstanding, this latest from the National Book Award–winning author is no guidebook to getting woke.

In fact, the word “woke” appears nowhere within its pages. Rather, it is a combination memoir and extension of Atlantic columnist Kendi’s towering Stamped From the Beginning (2016) that leads readers through a taxonomy of racist thought to anti-racist action. Never wavering from the thesis introduced in his previous book, that “racism is a powerful collection of racist policies that lead to racial inequity and are substantiated by racist ideas,” the author posits a seemingly simple binary: “Antiracism is a powerful collection of antiracist policies that lead to racial equity and are substantiated by antiracist ideas.” The author, founding director of American University’s Antiracist Research and Policy Center, chronicles how he grew from a childhood steeped in black liberation Christianity to his doctoral studies, identifying and dispelling the layers of racist thought under which he had operated. “Internalized racism,” he writes, “is the real Black on Black Crime.” Kendi methodically examines racism through numerous lenses: power, biology, ethnicity, body, culture, and so forth, all the way to the intersectional constructs of gender racism and queer racism (the only section of the book that feels rushed). Each chapter examines one facet of racism, the authorial camera alternately zooming in on an episode from Kendi’s life that exemplifies it—e.g., as a teen, he wore light-colored contact lenses, wanting “to be Black but…not…to look Black”—and then panning to the history that informs it (the antebellum hierarchy that valued light skin over dark). The author then reframes those received ideas with inexorable logic: “Either racist policy or Black inferiority explains why White people are wealthier, healthier, and more powerful than Black people today.” If Kendi is justifiably hard on America, he’s just as hard on himself. When he began college, “anti-Black racist ideas covered my freshman eyes like my orange contacts.” This unsparing honesty helps readers, both white and people of color, navigate this difficult intellectual territory.

Not an easy read but an essential one.

Pub Date: Aug. 13, 2019

ISBN: 978-0-525-50928-8

Page Count: 320

Publisher: One World/Random House

Review Posted Online: April 28, 2019

Kirkus Reviews Issue: May 15, 2019

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