A much-needed project, unfortunately weighed down by repetition and clichÇ. Feinberg (Stone Butch Blues, 1993) has undertaken a history of transgender, a term used, Feinberg explains, ``to include everyone who challenges the boundaries of sex and gender'' or, as one activist puts it, to describe those individuals who live ``full time in the gender opposite to their anatomy.'' It is a readable pop history, full of intriguing tidbits about past gender outlaws: For example, Joan of Arc was burned at the stake not for her resistance to the English but for the crime of cross-dressing. References to the author's personal experiences as a transgendered lesbian, as well as profiles of contemporary transgender activists, ground the book in present-day struggles. Unfortunately, excessive polemics mire Feinberg in repetition and ideological catch-phrases; instead of letting transgender's textured and often painful history speak for itself, she is continually hitting the reader over the head with preachings about the (admittedly very real) injustices Western society has visited upon those who do not fit neatly into the gender categories society assigns them. The sketches of contemporary transgendered people, among them writers, bodybuilders, historians, and artists, are written in their own words, and Feinberg allows many of them to spout rhetoric rather than describe the particularities of their own experience. She condescends to the reader by pointing out the obvious; mentioning transgenders who fought in the Confederacy, for example, she observes that not all gender deviants are politically progressive. Furthermore, Feinberg has no sense of humor about gender and does not seem to appreciate the potential for play in its subversion— she seems to see only oppression in the transgendered experience. Even her nod to wildly inventive drag supermodel RuPaul is earnest and flat. This joylessness is understandable given her own experience of violence and isolation, first as a masculine woman, and now as a transgendered lesbian, but it leaves out an important aspect of her subject. (Author tour)
Pub Date: May 1, 1996
ISBN: 0-8070-7940-5
Page Count: 224
Publisher: Beacon Press
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 15, 1996
A moving meditation on mortality by a gifted writer whose dual perspectives of physician and patient provide a singular...
A neurosurgeon with a passion for literature tragically finds his perfect subject after his diagnosis of terminal lung cancer.
Writing isn’t brain surgery, but it’s rare when someone adept at the latter is also so accomplished at the former. Searching for meaning and purpose in his life, Kalanithi pursued a doctorate in literature and had felt certain that he wouldn’t enter the field of medicine, in which his father and other members of his family excelled. “But I couldn’t let go of the question,” he writes, after realizing that his goals “didn’t quite fit in an English department.” “Where did biology, morality, literature and philosophy intersect?” So he decided to set aside his doctoral dissertation and belatedly prepare for medical school, which “would allow me a chance to find answers that are not in books, to find a different sort of sublime, to forge relationships with the suffering, and to keep following the question of what makes human life meaningful, even in the face of death and decay.” The author’s empathy undoubtedly made him an exceptional doctor, and the precision of his prose—as well as the moral purpose underscoring it—suggests that he could have written a good book on any subject he chose. Part of what makes this book so essential is the fact that it was written under a death sentence following the diagnosis that upended his life, just as he was preparing to end his residency and attract offers at the top of his profession. Kalanithi learned he might have 10 years to live or perhaps five. Should he return to neurosurgery (he could and did), or should he write (he also did)? Should he and his wife have a baby? They did, eight months before he died, which was less than two years after the original diagnosis. “The fact of death is unsettling,” he understates. “Yet there is no other way to live.”
A moving meditation on mortality by a gifted writer whose dual perspectives of physician and patient provide a singular clarity.Pub Date: Jan. 19, 2016
ISBN: 978-0-8129-8840-6
Page Count: 248
Publisher: Random House
Review Posted Online: Sept. 29, 2015
Kirkus Reviews Issue: Oct. 15, 2015
PERSPECTIVES
For Howard Zinn, long-time civil rights and anti-war activist, history and ideology have a lot in common. Since he thinks that everything is in someone's interest, the historian—Zinn posits—has to figure out whose interests he or she is defining/defending/reconstructing (hence one of his previous books, The Politics of History). Zinn has no doubts about where he stands in this "people's history": "it is a history disrespectful of governments and respectful of people's movements of resistance." So what we get here, instead of the usual survey of wars, presidents, and institutions, is a survey of the usual rebellions, strikes, and protest movements. Zinn starts out by depicting the arrival of Columbus in North America from the standpoint of the Indians (which amounts to their standpoint as constructed from the observations of the Europeans); and, after easily establishing the cultural disharmony that ensued, he goes on to the importation of slaves into the colonies. Add the laborers and indentured servants that followed, plus women and later immigrants, and you have Zinn's amorphous constituency. To hear Zinn tell it, all anyone did in America at any time was to oppress or be oppressed; and so he obscures as much as his hated mainstream historical foes do—only in Zinn's case there is that absurd presumption that virtually everything that came to pass was the work of ruling-class planning: this amounts to one great indictment for conspiracy. Despite surface similarities, this is not a social history, since we get no sense of the fabric of life. Instead of negating the one-sided histories he detests, Zinn has merely reversed the image; the distortion remains.
Pub Date: Jan. 1, 1979
ISBN: 0061965588
Page Count: 772
Publisher: Harper & Row
Review Posted Online: May 26, 2012
Kirkus Reviews Issue: Jan. 1, 1979
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