A valuable compilation that represents multiple paths for healing and thriving after sexual trauma.
Sexual abuse survivors from around the world detail their journeys to healthy sexuality and bodily autonomy in this collection.
In this volume featuring 17 nonfiction essays, sexual trauma survivors describe their experiences with making out like a virgin “by encountering an altogether new way to engage in sex—one that’s emotional as well as physical.” Each author picks a particular angle from which to present his or her story while keeping within the theme of the collection. In “One Woman, Many Names,” Sally J. Laskey depicts her journey from “the Rape Lady” to “the Sex Lady” as her growing awareness of her own secondhand trauma leads her from rape crisis work toward a role as a sexuality educator. In “Freedom at My Fingertips,” Sarah Mell expresses the liberation inherent in masturbation after a lifetime of considering her own vagina a space meant for others. In “Four Out of Five,” Glen uses humor to take ownership of his experiences of sexual assault and turn them into tales that exemplify his skills of observation and judgment—abilities that he feels have increased as a result of his encounters. Tara Abrol explains how going for a year without having sex has made her sexuality seem more personal and less performative in “Year of the Make-Out.” While the collection’s concept of virginity carries uncomfortable connotations that valorize purity and inexperience, it is clear that editors McHardy (a Community College of Vermont faculty member) and Plourde (Out & Allied Volume 2: An Anthology of Performance Pieces Written by LGBTQ Youth and Allies, 2014, etc.) and the essayists have good intentions. For the most part, the authors avoid these associations in the actual essays. The stories are by turns moving, horrifying, and funny, and they truly represent an array of experiences and viewpoints; each author may find healing through meditation, massage, forgiveness, anger, sex, or celibacy. It is true, as the editors explain, that these essays are no “ten secrets” guide to finding a positive path after abuse, but they are vibrant tales of rediscovering sexuality and vitality.
A valuable compilation that represents multiple paths for healing and thriving after sexual trauma.Pub Date: Oct. 18, 2016
ISBN: 978-1-944568-00-9
Page Count: 186
Publisher: Portlyn Media
Review Posted Online: Oct. 6, 2016
Kirkus Reviews Issue: Nov. 15, 2016
Review Program: Kirkus Indie
A brief but sometimes knotty and earnest set of studies best suited for Shakespeare enthusiasts.
A brisk study of 20 of the Bard’s plays, focused on stripping off four centuries of overcooked analysis and tangled reinterpretations.
“I don’t really care what he might have meant, nor should you,” writes Smith (Shakespeare Studies/Oxford Univ.; Shakespeare’s First Folio: Four Centuries of an Iconic Book, 2016, etc.) in the introduction to this collection. Noting the “gappy” quality of many of his plays—i.e., the dearth of stage directions, the odd tonal and plot twists—the author strives to fill those gaps not with psychological analyses but rather historical context for the ambiguities. She’s less concerned, for instance, with whether Hamlet represents the first flower of the modern mind and instead keys into how the melancholy Dane and his father share a name, making it a study of “cumulative nostalgia” and our difficulty in escaping our pasts. Falstaff’s repeated appearances in multiple plays speak to Shakespeare’s crowd-pleasing tendencies. A Midsummer Night’s Dream is a bawdier and darker exploration of marriage than its teen-friendly interpretations suggest. Smith’s strict-constructionist analyses of the plays can be illuminating: Her understanding of British mores and theater culture in the Elizabethan era explains why Richard III only half-heartedly abandons its charismatic title character, and she is insightful in her discussion of how Twelfth Night labors to return to heterosexual convention after introducing a host of queer tropes. Smith's Shakespeare is eminently fallible, collaborative, and innovative, deliberately warping play structures and then sorting out how much he needs to un-warp them. Yet the book is neither scholarly nor as patiently introductory as works by experts like Stephen Greenblatt. Attempts to goose the language with hipper references—Much Ado About Nothing highlights the “ ‘bros before hoes’ ethic of the military,” and Falstaff is likened to Homer Simpson—mostly fall flat.
A brief but sometimes knotty and earnest set of studies best suited for Shakespeare enthusiasts.Pub Date: April 21, 2020
ISBN: 978-1-5247-4854-8
Page Count: 368
Publisher: Pantheon
Review Posted Online: Dec. 17, 2019
Kirkus Reviews Issue: Jan. 15, 2020
BOOK REVIEW
BOOK REVIEW
Naughty good fun from an impossibly sardonic rogue, quickly rising to Twainian stature.
The undisputed champion of the self-conscious and the self-deprecating returns with yet more autobiographical gems from his apparently inexhaustible cache (Naked, 1997, etc.).
Sedaris at first mines what may be the most idiosyncratic, if innocuous, childhood since the McCourt clan. Here is father Lou, who’s propositioned, via phone, by married family friend Mrs. Midland (“Oh, Lou. It just feels so good to . . . talk to someone who really . . . understands”). Only years later is it divulged that “Mrs. Midland” was impersonated by Lou’s 12-year-old daughter Amy. (Lou, to the prankster’s relief, always politely declined Mrs. Midland’s overtures.) Meanwhile, Mrs. Sedaris—soon after she’s put a beloved sick cat to sleep—is terrorized by bogus reports of a “miraculous new cure for feline leukemia,” all orchestrated by her bitter children. Brilliant evildoing in this family is not unique to the author. Sedaris (also an essayist on National Public Radio) approaches comic preeminence as he details his futile attempts, as an adult, to learn the French language. Having moved to Paris, he enrolls in French class and struggles endlessly with the logic in assigning inanimate objects a gender (“Why refer to Lady Flesh Wound or Good Sir Dishrag when these things could never live up to all that their sex implied?”). After months of this, Sedaris finds that the first French-spoken sentiment he’s fully understood has been directed to him by his sadistic teacher: “Every day spent with you is like having a cesarean section.” Among these misadventures, Sedaris catalogs his many bugaboos: the cigarette ban in New York restaurants (“I’m always searching the menu in hope that some courageous young chef has finally recognized tobacco as a vegetable”); the appending of company Web addresses to television commercials (“Who really wants to know more about Procter & Gamble?”); and a scatological dilemma that would likely remain taboo in most households.
Naughty good fun from an impossibly sardonic rogue, quickly rising to Twainian stature.Pub Date: June 1, 2000
ISBN: 0-316-77772-2
Page Count: 288
Publisher: Little, Brown
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 2000
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