A vulnerable, intensely trenchant analysis of the ways capitalism denies wellness for so many around the world.
An exploration of the ways in which the wellness industry simultaneously commoditizes non-White cultures and renders services inaccessible to marginalized peoples.
Róisín, a freelance writer who was raised Muslim by Bengali parents in Australia, frames the book with the question: “If [wellness] was for someone like me, pilfered from my very own culture, then why couldn’t I afford it?” Seeking to answer this question and others, the author divides the narrative into four sections—mind, body, self-care, and justice—each of which weaves a specific aspect of health care in with Róisín’s personal experiences. In the section on the mind, for example, the author interrogates how her abusive mother’s lack of access to therapy passed on intergenerational mental trauma. During her healing process, Róisín began practicing meditation, which she later found out had been divorced from its ancient Indian roots to make it more palatable to Western nations and easier to commodify in a capitalist society. In the section on the body, the author explores how her history as a survivor of sexual abuse instilled in her the harmful belief that her body was not actually her own. She then documents how a massage therapist who had previously helped her gain relief from the physical manifestations of abuse on her muscles violated her trust by callously discussing a highly publicized incest case in a moment when the author sought refuge from the triggering news cycles. Ultimately, Róisín calls for a more sustainable, equitable approach to healing. Only occasionally dense, the author’s prose is engaging, and she delves into her past with vulnerability and self-compassion. The book is deeply researched and laudably includes the work of a variety of Black and Indigenous scholars to make a unique and relevant case for the need for greater accessibility to healing.
A vulnerable, intensely trenchant analysis of the ways capitalism denies wellness for so many around the world.Pub Date: June 14, 2022
ISBN: 978-0-06-307708-9
Page Count: 320
Publisher: Harper Wave
Review Posted Online: April 12, 2022
Kirkus Reviews Issue: May 1, 2022
BOOK REVIEW
A virtuoso performance and an ode to an undervalued medium created by two talented artists.
The veteran actor, comedian, and banjo player teams up with the acclaimed illustrator to create a unique book of cartoons that communicates their personalities.
Martin, also a prolific author, has always been intrigued by the cartoons strewn throughout the pages of the New Yorker. So when he was presented with the opportunity to work with Bliss, who has been a staff cartoonist at the magazine since 1997, he seized the moment. “The idea of a one-panel image with or without a caption mystified me,” he writes. “I felt like, yeah, sometimes I’m funny, but there are these other weird freaks who are actually funny.” Once the duo agreed to work together, they established their creative process, which consisted of working forward and backward: “Forwards was me conceiving of several cartoon images and captions, and Harry would select his favorites; backwards was Harry sending me sketched or fully drawn cartoons for dialogue or banners.” Sometimes, he writes, “the perfect joke occurs two seconds before deadline.” There are several cartoons depicting this method, including a humorous multipanel piece highlighting their first meeting called “They Meet,” in which Martin thinks to himself, “He’ll never be able to translate my delicate and finely honed droll notions.” In the next panel, Bliss thinks, “I’m sure he won’t understand that the comic art form is way more subtle than his blunt-force humor.” The team collaborated for a year and created 150 cartoons featuring an array of topics, “from dogs and cats to outer space and art museums.” A witty creation of a bovine family sitting down to a gourmet meal and one of Dumbo getting his comeuppance highlight the duo’s comedic talent. What also makes this project successful is the team’s keen understanding of human behavior as viewed through their unconventional comedic minds.
A virtuoso performance and an ode to an undervalued medium created by two talented artists.Pub Date: Nov. 17, 2020
ISBN: 978-1-250-26289-9
Page Count: 272
Publisher: Celadon Books
Review Posted Online: Aug. 30, 2020
Kirkus Reviews Issue: Sept. 15, 2020
PERSPECTIVES
A top-flight nonfiction debut from a unique artist.
The acclaimed director displays his talents as a film critic.
Tarantino’s collection of essays about the important movies of his formative years is packed with everything needed for a powerful review: facts about the work, context about the creative decisions, and whether or not it was successful. The Oscar-winning director of classic films like Pulp Fiction and Reservoir Dogs offers plenty of attitude with his thoughts on movies ranging from Animal House to Bullitt to The Texas Chainsaw Massacre to The Big Chill. Whether you agree with his assessments or not, he provides the original reporting and insights only a veteran director would notice, and his engaging style makes it impossible to leave an essay without learning something. The concepts he smashes together in two sentences about Taxi Driver would take a semester of film theory class to unpack. Taxi Driver isn’t a “paraphrased remake” of The Searchers like Bogdanovich’s What’s Up, Doc? is a paraphrased remake of Hawks’ Bringing Up Baby or De Palma’s Dressed To Kill is a paraphrased remake of Hitchcock’s Psycho. But it’s about as close as you can get to a paraphrased remake without actually being one. Robert De Niro’s taxi driving protagonist Travis Bickle is John Wayne’s Ethan Edwards. Like any good critic, Tarantino reveals bits of himself as he discusses the films that are important to him, recalling where he was when he first saw them and what the crowd was like. Perhaps not surprisingly, the author was raised by movie-loving parents who took him along to watch whatever they were watching, even if it included violent or sexual imagery. At the age of 8, he had seen the very adult MASH three times. Suddenly the dark humor of Kill Bill makes much more sense. With this collection, Tarantino offers well-researched love letters to his favorite movies of one of Hollywood’s most ambitious eras.
A top-flight nonfiction debut from a unique artist.Pub Date: Nov. 1, 2022
ISBN: 978-0-06-311258-2
Page Count: 400
Publisher: Harper/HarperCollins
Review Posted Online: Oct. 31, 2022
Kirkus Reviews Issue: Dec. 1, 2022
SEEN & HEARD
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