An engaging remembrance and a useful study of race and gender in America.
The latest work from scholar and activist Pratt is part autobiography, part allegory, and part guidebook for Black American women and girls navigating an oppressive world.
It would be natural to classify a book composed largely of the author’s diary entries and other reflections on her upbringing and family history as a memoir. However, Pratt, a professor of education at Virginia Tech, isn’t merely interested in only telling her own story. In fact, she specifically eschews a more conventional format that might separate her own experiences of Black girlhood and womanhood from those of her mother, her grandmother, and generations of other Black women in America. Instead, she’s created a multifaceted epic that aims to offer validation and encouragement to those who may be struggling under similar systems of oppression. For such a daunting task, Pratt ably manages to find structure and rhythm by way of a familiar form: She tells her story in four acts, as in a theatrical play. The writer offers an account of her journey to take back the power and self-knowledge she had as a child (a state she refers to as “Blackwildgirl”) that uses a recurring image of a growing tree: “the world didn’t know that she was a seed. Germinating underground in the bowels of the earth—almost suffocating—the seed miraculously survives, nourished by nutrients submerged in composting decay.” She further divides the work into 12 “initiation” stages, which she effectively bolsters with decades’ worth of journal entries, letters, and insights from other Black female writers and thinkers. One such kernel of wisdom that she offers her readers comes from poet Nikki Giovanni, whose well-known 1973 interview with author James Baldwin, discussed here, foregrounded the unique experience of Black American women in relation to Black male oppression. (Giovanni’s praise of Pratt’s book, included in the form of a poem, also refers to a seed—as Pratt does—becoming “a journey to girlhood.”)
An engaging remembrance and a useful study of race and gender in America.Pub Date: April 2, 2024
ISBN: 9781647426323
Page Count: 392
Publisher: She Writes Press
Review Posted Online: Dec. 6, 2023
Review Program: Kirkus Indie
It’s not Shakespeare, not by a long shot. But at least it’s not James Franco.
A noted actor turns to verse: “Poems are a Saturday in the middle of the week.”
McConaughey, author of the gracefully written memoir Greenlights, has been writing poems since his teens, closing with one “written in an Australian bathtub” that reads just as a poem by an 18-year-old (Rimbaud excepted) should read: “Ignorant minds of the fortunate man / Blind of the fate shaping every land.” McConaughey is fearless in his commitment to the rhyme, no matter how slight the result (“Oops, took a quick peek at the sky before I got my glasses, / now I can’t see shit, sure hope this passes”). And, sad to say, the slight is what is most on display throughout, punctuated by some odd koanlike aperçus: “Eating all we can / at the all-we-can-eat buffet, / gives us a 3.8 education / and a 4.2 GPA.” “Never give up your right to do the next right thing. This is how we find our way home.” “Memory never forgets. Even though we do.” The prayer portion of the program is deeply felt, but it’s just as sentimental; only when he writes of life-changing events—a court appearance to file a restraining order against a stalker, his decision to quit smoking weed—do we catch a glimpse of the effortlessly fluent, effortlessly charming McConaughey as exemplified by the David Wooderson (“alright, alright, alright”) of Dazed and Confused. The rest is mostly a soufflé in verse. McConaughey’s heart is very clearly in the right place, but on the whole the book suggests an old saw: Don’t give up your day job.
It’s not Shakespeare, not by a long shot. But at least it’s not James Franco.Pub Date: Sept. 16, 2025
ISBN: 9781984862105
Page Count: 208
Publisher: Crown
Review Posted Online: Aug. 15, 2025
Kirkus Reviews Issue: Sept. 15, 2025
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
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
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