Native American activist Brave Bird—whose autobiography Lakota Woman (1990; written under the author's former married name of Crow Dog) will soon be released as a film directed by Jane Fonda—returns with a disturbing sequel. Lakota Woman turned heads with its angry plea for Native American rights, its outspoken feminism—and its blatant antiwhite racism. Brave Bird has mellowed a bit, although she still makes caustic remarks about white women, especially New Agers whom she accuses of cashing in on traditional Indian religion. Sadly, her personal life seems as chaotic as ever, as she relates a horrifying story of chronic drunkenness, drug-taking, brawls, poverty, homeless shelters, and batterings by lovers. Readers willing to put up with the sordidness—which culminates in a drunk-driving crash and subsequent open-heart surgery for Brave Bird—will no doubt get the message: that Indians, Lakota in particular (Pine Ridge reservation is the poorest county in the nation), have been shoved to the bottom of the American barrel. Easier to digest are Brave Bird's accounts of Native American rituals, including sweat lodges, spirit communication, and sun dances (during one, Brave Bird is suspended from a tree by thongs skewered through her back). Once again, the author presents a fierce feminist brief, offering biographical tributes to a number of Native American women and celebrating her own ``womb power,'' which brought her five kids— the last by her new husband, Rudi, a tattoo artist. Without the intrinsic excitement of the first installment, with its firsthand history of AIM and the siege at Wounded Knee; still, a forceful presentation of Native American life today. (Eight pages of b&w photographs—not seen)
Pub Date: Sept. 1, 1993
ISBN: 0-8021-1436-9
Page Count: 288
Publisher: Grove
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 1993
The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the...
Elie Wiesel spent his early years in a small Transylvanian town as one of four children.
He was the only one of the family to survive what Francois Maurois, in his introduction, calls the "human holocaust" of the persecution of the Jews, which began with the restrictions, the singularization of the yellow star, the enclosure within the ghetto, and went on to the mass deportations to the ovens of Auschwitz and Buchenwald. There are unforgettable and horrifying scenes here in this spare and sombre memoir of this experience of the hanging of a child, of his first farewell with his father who leaves him an inheritance of a knife and a spoon, and of his last goodbye at Buchenwald his father's corpse is already cold let alone the long months of survival under unconscionable conditions.
Pub Date: Jan. 16, 2006
ISBN: 0374500010
Page Count: 120
Publisher: Hill & Wang
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: Jan. 15, 2006
A standout immigrant coming-of-age story.
In her first nonfiction book, novelist Grande (Dancing with Butterflies, 2009, etc.) delves into her family’s cycle of separation and reunification.
Raised in poverty so severe that spaghetti reminded her of the tapeworms endemic to children in her Mexican hometown, the author is her family’s only college graduate and writer, whose honors include an American Book Award and International Latino Book Award. Though she was too young to remember her father when he entered the United States illegally seeking money to improve life for his family, she idolized him from afar. However, she also blamed him for taking away her mother after he sent for her when the author was not yet 5 years old. Though she emulated her sister, she ultimately answered to herself, and both siblings constantly sought affirmation of their parents’ love, whether they were present or not. When one caused disappointment, the siblings focused their hopes on the other. These contradictions prove to be the narrator’s hallmarks, as she consistently displays a fierce willingness to ask tough questions, accept startling answers, and candidly render emotional and physical violence. Even as a girl, Grande understood the redemptive power of language to define—in the U.S., her name’s literal translation, “big queen,” led to ridicule from other children—and to complicate. In spelling class, when a teacher used the sentence “my mamá loves me” (mi mamá me ama), Grande decided to “rearrange the words so that they formed a question: ¿Me ama mi mamá? Does my mama love me?”
A standout immigrant coming-of-age story.Pub Date: Aug. 28, 2012
ISBN: 978-1-4516-6177-4
Page Count: 320
Publisher: Atria
Review Posted Online: June 11, 2012
Kirkus Reviews Issue: July 1, 2012
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