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EL OFICIO DE NARRAR SIN MIEDO

An often compelling survey of a uniquely demanding career and the life lived around it, with stories that readers won’t find...

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Guatemalan journalist Whitbeck recounts his family’s multigenerational history in journalism as well as travels around the world in this genre-bending Spanish-language memoir.

There are few people who can say seeing a dead body changed their lives for the better, but for the author, it was a light-bulb moment. He was barely a teenager during Guatemala’s civil war in the late 1970s, and violence was everywhere; it was on his daily commute to school, peering out at a cadaver from the bus window, that his future solidified: He was going to be a journalist. After getting his master’s degree in journalism at Columbia University, Whitbeck worked his way up from covering natural disasters in Central America to becoming one of CNN’s senior foreign correspondents. In this memoir and travelogue, he recounts some of his most memorable reporting trips during his decadeslong career, including embedding with U.S. Army soldiers in Iraq, cutting his international journalism teeth at civilian protests in Haiti, and getting to hold the same pen that Gorbachev used to sign the documents dissolving the USSR. He attributes his success to his relentlessly curious nature but admits that journalism may well be his destiny: his ancestors include Spanish conquistador and chronicler Bernal Díaz del Castillo and American journalist Leonard F. Whitbeck, who covered conflicts between American troops and Indigenous leaders Sitting Bull and Crazy Horse. Whitbeck even devotes one of the book’s best chapters, an outlier of sorts, to detailing his own father’s involvement in the brief and bloody regime of Guatemalan president Efraín Ríos Montt.

As a narrator, Whitbeck’s greatest strengths are the palpable compassion and humility with which he undertakes the task of reporting on communities in crisis and the deft connections he makes to broader themes of the human condition. The author, who considers himself an introvert and identifies as gay, offers a self-conscious peek into the often opaque world of correspondent journalism; in particular, he’s refreshingly frank about facing racism and xenophobia as a Latino and a member of the Spanish-language press and about the complex traumas of his various sources across the world. His clean prose historically contextualizes his location-based essays without ever overwhelming the reader or deferring to an American perspective. He juxtaposes moments of levity, as when he tells of procuring equine transport in Afghanistan, listening to Coldplay while on assignment, and smoking cannabis for the first time, with the descriptions of the carnage he witnesses. The book isn’t chronological, and the way that Whitbeck jumps through time to suit his philosophizing about the human experience results in occasional passages that feel muddled or disconnected. The final chapter, however, is quite sentimental, ruminating on his life after leaving CNN and how he came to understand himself better through taking psychedelics, culminating in his ultimate takeaway: that death and disaster are simply part of the cycle of life.

An often compelling survey of a uniquely demanding career and the life lived around it, with stories that readers won’t find in the news.

Pub Date: July 13, 2021

ISBN: 978-6070776540

Page Count: 264

Publisher: Planeta Publishing

Review Posted Online: Jan. 7, 2022

Kirkus Reviews Issue: March 1, 2022

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  • New York Times Bestseller

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TANQUERAY

A blissfully vicarious, heartfelt glimpse into the life of a Manhattan burlesque dancer.

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A former New York City dancer reflects on her zesty heyday in the 1970s.

Discovered on a Manhattan street in 2020 and introduced on Stanton’s Humans of New York Instagram page, Johnson, then 76, shares her dynamic history as a “fiercely independent” Black burlesque dancer who used the stage name Tanqueray and became a celebrated fixture in midtown adult theaters. “I was the only black girl making white girl money,” she boasts, telling a vibrant story about sex and struggle in a bygone era. Frank and unapologetic, Johnson vividly captures aspects of her former life as a stage seductress shimmying to blues tracks during 18-minute sets or sewing lingerie for plus-sized dancers. Though her work was far from the Broadway shows she dreamed about, it eventually became all about the nightly hustle to simply survive. Her anecdotes are humorous, heartfelt, and supremely captivating, recounted with the passion of a true survivor and the acerbic wit of a weathered, street-wise New Yorker. She shares stories of growing up in an abusive household in Albany in the 1940s, a teenage pregnancy, and prison time for robbery as nonchalantly as she recalls selling rhinestone G-strings to prostitutes to make them sparkle in the headlights of passing cars. Complemented by an array of revealing personal photographs, the narrative alternates between heartfelt nostalgia about the seedier side of Manhattan’s go-go scene and funny quips about her unconventional stage performances. Encounters with a variety of hardworking dancers, drag queens, and pimps, plus an account of the complexities of a first love with a drug-addled hustler, fill out the memoir with personality and candor. With a narrative assist from Stanton, the result is a consistently titillating and often moving story of human struggle as well as an insider glimpse into the days when Times Square was considered the Big Apple’s gloriously unpolished underbelly. The book also includes Yee’s lush watercolor illustrations.

A blissfully vicarious, heartfelt glimpse into the life of a Manhattan burlesque dancer.

Pub Date: July 12, 2022

ISBN: 978-1-250-27827-2

Page Count: 192

Publisher: St. Martin's

Review Posted Online: July 27, 2022

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LOVE, PAMELA

A juicy story with some truly crazy moments, yet Anderson's good heart shines through.

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The iconic model tells the story of her eventful life.

According to the acknowledgments, this memoir started as "a fifty-page poem and then grew into hundreds of pages of…more poetry." Readers will be glad that Anderson eventually turned to writing prose, since the well-told anecdotes and memorable character sketches are what make it a page-turner. The poetry (more accurately described as italicized notes-to-self with line breaks) remains strewn liberally through the pages, often summarizing the takeaway or the emotional impact of the events described: "I was / and still am / an exceptionally / easy target. / And, / I'm proud of that." This way of expressing herself is part of who she is, formed partly by her passion for Anaïs Nin and other writers; she is a serious maven of literature and the arts. The narrative gets off to a good start with Anderson’s nostalgic memories of her childhood in coastal Vancouver, raised by very young, very wild, and not very competent parents. Here and throughout the book, the author displays a remarkable lack of anger. She has faced abuse and mistreatment of many kinds over the decades, but she touches on the most appalling passages lightly—though not so lightly you don't feel the torment of the media attention on the events leading up to her divorce from Tommy Lee. Her trip to the pages of Playboy, which involved an escape from a violent fiance and sneaking across the border, is one of many jaw-dropping stories. In one interesting passage, Julian Assange's mother counsels Anderson to desexualize her image in order to be taken more seriously as an activist. She decided that “it was too late to turn back now”—that sexy is an inalienable part of who she is. Throughout her account of this kooky, messed-up, enviable, and often thrilling life, her humility (her sons "are true miracles, considering the gene pool") never fails her.

A juicy story with some truly crazy moments, yet Anderson's good heart shines through.

Pub Date: Jan. 31, 2023

ISBN: 9780063226562

Page Count: 256

Publisher: Dey Street/HarperCollins

Review Posted Online: Dec. 5, 2022

Kirkus Reviews Issue: Jan. 1, 2023

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