Those in the choir will enjoy the preaching; others may still find a few notes that resonate.
A libertarian TV personality defends comedy against a wide array of charges.
“When someone says ‘You can't joke about that,’ what they really mean is ‘this is a subject that makes people sad or angry,’ ” writes Timpf at the beginning. In the "sad" category are the deaths of close relatives and pets. In the "angry" column are racism, sexism, transphobia, body positivity, and the like. "Candor and comedy really do connect us as humans," writes the author. It’s a good point, but it’s difficult to ignore the politicized backdrop of the author's commentary, featuring repeated references to her essays for the National Review and position with Fox News. Some of Timpf’s arguments are marred by logical fallacies. For example, a woman asked her how her mother felt about her grandmother's death. Sadly, Timpf's mother had also recently died, and she felt awkward saying so. If you don't understand why, she recommends, “the next time you’re at a party, just try breaking a small-talk silence with the question ‘So, who here do you think is gonna die first?’ ” The other person will likely "get weird," as she claims, but this does not prove the point that there is a widely enforced social stricture against talking about death. Elsewhere, the author makes solid, well-researched points in defense of freedom of speech. For example, in an amply documented chapter about the removal of problematic past episodes of TV shows from streaming services, she writes, "Although some people may see erasing what’s become unacceptable as a sign of progress, signs of progress are exactly what you are erasing." Timpf recounts plenty of dust-ups and scandals involving comedians including Chris Rock, Norm MacDonald, Dave Chappelle, Jon Stewart, Stephen Colbert, and more. "Comedy is my religion," she writes, but the relentless politicization of comedy makes this a less powerful call for unity than it might be.
Those in the choir will enjoy the preaching; others may still find a few notes that resonate.Pub Date: April 18, 2023
ISBN: 9780063270428
Page Count: 256
Publisher: Broadside Books/HarperCollins
Review Posted Online: May 18, 2023
Kirkus Reviews Issue: June 15, 2023
A blissfully vicarious, heartfelt glimpse into the life of a Manhattan burlesque dancer.
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
Essential reading for any Twain buff and student of American literature.
A decidedly warts-and-all portrait of the man many consider to be America’s greatest writer.
It makes sense that distinguished biographer Chernow (Washington: A Life and Alexander Hamilton) has followed up his life of Ulysses S. Grant with one of Mark Twain: Twain, after all, pulled Grant out of near bankruptcy by publishing the ex-president’s Civil War memoir under extremely favorable royalty terms. The act reflected Twain’s inborn generosity and his near pathological fear of poverty, the prime mover for the constant activity that characterized the author’s life. As Chernow writes, Twain was “a protean figure who played the role of printer, pilot, miner, journalist, novelist, platform artist, toastmaster, publisher, art patron, pundit, polemicist, inventor, crusader, investor, and maverick.” He was also slippery: Twain left his beloved Mississippi River for the Nevada gold fields as a deserter from the Confederate militia, moved farther west to California to avoid being jailed for feuding, took up his pseudonym to stay a step ahead of anyone looking for Samuel Clemens, especially creditors. Twain’s flaws were many in his own day. Problematic in our own time is a casual racism that faded as he grew older (charting that “evolution in matters of racial tolerance” is one of the great strengths of Chernow’s book). Harder to explain away is Twain’s well-known but discomfiting attraction to adolescent and even preadolescent girls, recruiting “angel-fish” to keep him company and angrily declaring when asked, “It isn’t the public’s affair.” While Twain emerges from Chernow’s pages as the masterful—if sometimes wrathful and vengeful—writer that he is now widely recognized to be, he had other complexities, among them a certain gullibility as a businessman that kept that much-feared poverty often close to his door, as well as an overarchingly gloomy view of the human condition that seemed incongruous with his reputation, then and now, as a humanist.
Essential reading for any Twain buff and student of American literature.Pub Date: May 13, 2025
ISBN: 9780525561729
Page Count: 1200
Publisher: Penguin Press
Review Posted Online: Feb. 1, 2025
Kirkus Reviews Issue: March 1, 2025
© Copyright 2025 Kirkus Media LLC. All Rights Reserved.
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