“I didn’t want to be inspirational; I just wanted to be funny.” Happily he manages to be both.

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FUNNY, YOU DON'T LOOK AUTISTIC

A COMEDIAN'S GUIDE TO LIFE ON THE SPECTRUM

A breezy, upbeat memoir from a 22-year-old Canadian autism advocate and stand-up comic.

Diagnosed with autism spectrum disorder at age 5, McCreary is quite unlike the stereotypical Aspie (a term he uses interchangeably with autistic person, person on the spectrum, and similar phrases): hopeless at math but extroverted, verbose, and in love with performing. He repeatedly emphasizes that ASD manifests differently in everyone—indeed, his younger brother, also autistic, is in many ways his polar opposite. He recounts his journey to his dream of becoming a professional comedian, including triumphs and humiliations, family, teachers, friends, and enemies, all in a wry, self-deprecating voice peppered with innumerable pop-culture references and relentless optimism. Along the way, he provides an intimate glimpse of one autistic person’s inner life, highlighting common experiences, explaining widespread coping mechanisms, and demolishing popular misconceptions. Some readers might yearn for his advantages of economic means, supportive community, and excellent, well-funded special needs programs in the public schools; still, he acknowledges his struggles with living independently and that some persons with ASD may never achieve that. Nonetheless, the hard-won lessons he shares—be understanding, don’t judge, live for the moment, never give up, and “shut up and listen”—are worthwhile for autistic and neurotypical alike.

“I didn’t want to be inspirational; I just wanted to be funny.” Happily he manages to be both. (Memoir. 12-18)

Pub Date: March 12, 2019

ISBN: 978-1-77321-257-9

Page Count: 176

Publisher: Annick Press

Review Posted Online: Dec. 9, 2018

Kirkus Reviews Issue: Jan. 1, 2019

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A powerful reminder of a history that is all too timely today.

THEY CALLED US ENEMY

A beautifully heart-wrenching graphic-novel adaptation of actor and activist Takei’s (Lions and Tigers and Bears, 2013, etc.) childhood experience of incarceration in a World War II camp for Japanese Americans.

Takei had not yet started school when he, his parents, and his younger siblings were forced to leave their home and report to the Santa Anita Racetrack for “processing and removal” due to President Franklin D. Roosevelt’s Executive Order 9066. The creators smoothly and cleverly embed the historical context within which Takei’s family’s story takes place, allowing readers to simultaneously experience the daily humiliations that they suffered in the camps while providing readers with a broader understanding of the federal legislation, lawsuits, and actions which led to and maintained this injustice. The heroes who fought against this and provided support to and within the Japanese American community, such as Fred Korematsu, the 442nd Regiment, Herbert Nicholson, and the ACLU’s Wayne Collins, are also highlighted, but the focus always remains on the many sacrifices that Takei’s parents made to ensure the safety and survival of their family while shielding their children from knowing the depths of the hatred they faced and danger they were in. The creators also highlight the dangerous parallels between the hate speech, stereotyping, and legislation used against Japanese Americans and the trajectory of current events. Delicate grayscale illustrations effectively convey the intense emotions and the stark living conditions.

A powerful reminder of a history that is all too timely today. (Graphic memoir. 14-adult)

Pub Date: July 16, 2019

ISBN: 978-1-60309-450-4

Page Count: 208

Publisher: Top Shelf Books

Review Posted Online: Aug. 5, 2019

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This deeply personal and boldly political offering inspires and ignites.

THIS IS WHAT I KNOW ABOUT ART

From the Pocket Change Collective series

Curator, author, and activist Drew shares her journey as an artist and the lessons she has learned along the way.

Drew uses her own story to show how deeply intertwined activism and the arts can be. Her choices in college were largely overshadowed by financial need, but a paid summer internship at the Studio Museum in Harlem became a formative experience that led her to major in art history. The black artists who got her interested in the field were conspicuously absent in the college curriculum, however, as was faculty support, so she turned her frustration into action by starting her own blog to boost the work of black artists. After college, Drew’s work in several arts organizations, including the Metropolitan Museum of Art in New York City, only deepened her commitment to making the art world more accessible to people of color and other marginalized groups, such as people with disabilities, and widening the scope of who is welcomed there. Drew narrates deeply personal experiences of frustration, triumph, progress, learning, and sometimes-uncomfortable growth in a conversational tone that draws readers in, showing how her specific lens enabled her to accomplish the work she has done but ultimately inviting readers to add their own contributions, however small, to both art and protest.

This deeply personal and boldly political offering inspires and ignites. (Nonfiction. 12-18)

Pub Date: June 2, 2020

ISBN: 978-0-593-09518-8

Page Count: 64

Publisher: Penguin Workshop

Review Posted Online: March 29, 2020

Kirkus Reviews Issue: April 15, 2020

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