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THERE PLANT EYES

A PERSONAL AND CULTURAL HISTORY OF BLINDNESS

As Godin wonderfully shows, we’ve come a long way in our quest to understand what blindness means.

How blindness has shaped global culture across centuries.

Playwright and columnist Godin approaches her subject from a unique perspective. Now blind, she gradually lost her sight from retinal dystrophy, a frightening process she poignantly recounts throughout the book. Her ambitious goal is to trace the “complexities of metaphorical and literal blindness and sight.” As she writes, “what I’m wrestling with…is the concept of blindness that our ocularcentric culture extols on the one hand and dismisses on the other.” The idea that poetic gifts are compensation for blindness began with Homer, who may or may not have been blind. Godin uncovers a rich literary history of blindness, including such signposts as the blind bard Demodocus, biblical Scripture, King Lear, Jorge Luis Borges, Mark Danielewski’s “haunting masterpiece,” House of Leaves, and Daisy Johnson’s Everything Under. John Milton, whose Paradise Lost provides the book’s title, went blind in his 40s, composing his later works in his head until an amanuensis wrote them down. Godin discusses Milton’s blindness and the “long tradition in Milton scholarship that falls victim to…ocularcentrism.” The author also introduces us to Valentin Haüy, who opened Paris’ groundbreaking Royal Institute for Blind Youth in 1785 and developed a way of reading via embossed letters on paper. A young Louis Braille attended the school and would go on to “invent a writing system that would eventually revolutionize blind education.” After World War II, a veteran-rehabilitation specialist “pioneered the technique” for using a long, sweeping white cane. After a sprightly look at Helen Keller in vaudeville and Godin’s play about it, she moves on to the topic of blindness and sex and the difficulties that face blind authors, artists, and musicians, including Stevie Wonder and Ray Charles. The author wraps up her erudite, capacious book with discussions of blind parents and superheroes, the portrayal of the blind in the media, and blind pride.

As Godin wonderfully shows, we’ve come a long way in our quest to understand what blindness means.

Pub Date: June 1, 2021

ISBN: 978-1-5247-4871-5

Page Count: 352

Publisher: Pantheon

Review Posted Online: Feb. 4, 2021

Kirkus Reviews Issue: March 1, 2021

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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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