Caustic, strident, and trite.


A collection of political cartoons that lampoon President Donald Trump’s policies, character, and physique.

In these satirical images, cartoonist Fintan presents a corpulent Trump in a pendulous red tie and with a pouty-lipped gape. The artist harps on familiar anti-Trump themes, portraying the president as a racist who has “a lot in common” with a Klan-robed, swastika-emblazoned alt-righter and as a lecherous creep to whom former U.K. Prime Minister Theresa May must say, “do not grab the Queen by her p___y.” Trump is depicted as a venal grifter who cheats at golf and accepts bags of cash from lobbyists and Arab sheikhs. He’s shown to be the puppet of a bare-chested Russian President Vladimir Putin in two cartoons and the punching bag and giddy waltz partner of North Korean leader Kim Jong Un. The artist personifies Trump’s immigration policies as a U.S. Border Patrol agent shrieking “Incoming!” at a little girl clutching a teddy bear. Former Justice Department Special Counsel Robert Mueller’s probe is represented as a wrecking ball that’s about to smash into an oblivious Trump, and the probe’s aftermath is envisioned as Trump asking first lady Melania Trump if he should wear orange prison fatigues or striped ones. Fintan is an equal-opportunity politico-basher, showing U.S. Sen. Bernie Sanders proclaiming that “banks will break themselves up once I crash the international and domestic economies” and dressing former U.S. Secretary of State Hillary Clinton in a pantsuit stuffed with cash. Overall, though, the cartoons are somewhat cruder than standard op-ed page fare—one features a nude Trump with “GOP” stamped across his anatomically detailed derriere—although they display the genre’s weakness for plodding literal-mindedness. One didactic tableau, for example, has a boy inflating a balloon labeled “Russia” while deflating balloons labeled “NATO” and “Paris Accord,” with a caption reading, “Trump reveals world view at first G7 summit.” Often, the imagery is colorful and even striking. However, Fintan isn’t a superb caricaturist; indeed, it’s sometimes hard to ascertain the identity of the non-Trump figures. There’s plenty of red meat for politically like-minded readers here, but it’s neither a subtle nor imaginative take on politics.

Caustic, strident, and trite.

Pub Date: July 26, 2019

ISBN: 978-1-5320-7790-6

Page Count: 104

Publisher: iUniverse

Review Posted Online: Jan. 31, 2020

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A wondrous mix of races, ages, genders, and social classes, and on virtually every page is a surprise.



Photographer and author Stanton returns with a companion volume to Humans of New York (2013), this one with similarly affecting photographs of New Yorkers but also with some tales from his subjects’ mouths.

Readers of the first volume—and followers of the related site on Facebook and elsewhere—will feel immediately at home. The author has continued to photograph the human zoo: folks out in the streets and in the parks, in moods ranging from parade-happy to deep despair. He includes one running feature—“Today in Microfashion,” which shows images of little children dressed up in various arresting ways. He also provides some juxtapositions, images and/or stories that are related somehow. These range from surprising to forced to barely tolerable. One shows a man with a cat on his head and a woman with a large flowered headpiece, another a construction worker proud of his body and, on the facing page, a man in a wheelchair. The emotions course along the entire continuum of human passion: love, broken love, elation, depression, playfulness, argumentativeness, madness, arrogance, humility, pride, frustration, and confusion. We see varieties of the human costume, as well, from formalwear to homeless-wear. A few celebrities appear, President Barack Obama among them. The “stories” range from single-sentence comments and quips and complaints to more lengthy tales (none longer than a couple of pages). People talk about abusive parents, exes, struggles to succeed, addiction and recovery, dramatic failures, and lifelong happiness. Some deliver minirants (a neuroscientist is especially curmudgeonly), and the children often provide the most (often unintended) humor. One little boy with a fishing pole talks about a monster fish. Toward the end, the images seem to lead us toward hope. But then…a final photograph turns the light out once again.

A wondrous mix of races, ages, genders, and social classes, and on virtually every page is a surprise.

Pub Date: Oct. 13, 2015

ISBN: 978-1-250-05890-4

Page Count: 432

Publisher: St. Martin's

Review Posted Online: July 28, 2015

Kirkus Reviews Issue: Aug. 15, 2015

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A fascinating, major work that will spark endless debates.


An epic cradle-to-grave biography of the king of pop art from Gopnik (co-author: Warhol Women, 2019), who served as chief art critic for the Washington Post and the art and design critic for Newsweek.

With a hoarder’s zeal, Andy Warhol (1928-1987) collected objects he liked until shopping bags filled entire rooms of his New York town house. Rising to equal that, Gopnik’s dictionary-sized biography has more than 7,000 endnotes in its e-book edition and drew on some 100,000 documents, including datebooks, tax returns, and letters to lovers and dealers. With the cooperation of the Andy Warhol Museum in Pittsburgh, the author serves up fresh details about almost every aspect of Warhol’s life in an immensely enjoyable book that blends snappy writing with careful exegeses of the artist’s influences and techniques. Warhol exploded into view in his mid-40s with his pop art paintings of Campbell’s Soup cans and silkscreens of Elvis and Marilyn. However, fame didn’t banish lifelong anxieties heightened by an assassination attempt that left him so fearful he bought bulletproof eyeglasses. After the pop successes, Gopnik writes, Warhol’s life was shaped by a consuming desire “to climb back onto that cutting edge,” which led him to make experimental films, launch Interview magazine, and promote the Velvet Underground. At the same time, Warhol yearned “for fine, old-fashioned love and coupledom,” a desire thwarted by his shyness and his awkward stance toward his sexuality—“almost but never quite out,” as Gopnik puts it. Although insightful in its interpretations of Warhol’s art, this biography is sure to make waves with its easily challenged claims that Warhol revealed himself early on “as a true rival of all the greats who had come before” and that he and Picasso may now occupy “the top peak of Parnassus, beside Michelangelo and Rembrandt and their fellow geniuses.” Any controversy will certainly befit a lodestar of 20th-century art who believed that “you weren’t doing much of anything as an artist if you weren’t questioning the most fundamental tenets of what art is and what artists can do.”

A fascinating, major work that will spark endless debates.

Pub Date: April 21, 2020

ISBN: 978-0-06-229839-3

Page Count: 976

Publisher: Ecco/HarperCollins

Review Posted Online: Dec. 2, 2019

Kirkus Reviews Issue: Jan. 1, 2020

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