by Michael Meguid Michael M. Meguid ‧ RELEASE DATE: N/A
A revealing, if often sterile, medical school account.
An Egyptian-born surgeon reminisces about his time in medical school in this second installment of a memoir.
Meguid’s book opens in 1970 in London, with the author facing his primary surgical fellowship exam—a test that he would fail and have to repeat seven months later. He then skips back in time to briefly recall his childhood, when he was uprooted from Egypt to live with his grandparents in Hamburg, Germany, and Manchester, England, returning to Cairo, where he felt like “a stranger” in his “own country.” Meguid recalls that he first thought about becoming a surgeon at age 11 after having an appendectomy. The author explored the story of his childhood in greater detail in his debut memoir, Roots & Branches (2020). Focusing here on his efforts to become a surgeon from 1960 to ’70, Meguid tells of his Manchester school life, where he was racially abused by his peers, before attending the prestigious University College Hospital Medical School in London. Life as a medical student was not easy for the author; he recounts instances when those supervising him took exception to his race. These are tales of Meguid’s first cadaver dissection; his stint at a hospital in Boston; lessons on how to certify a death; and his work as a locum house officer at a family practice—a role that convinced the author that surgery was his vocation. Meguid also candidly discusses his personal life—his marriage to Victoria, a fellow medical student, and an affair with a nurse named Hanna. The memoir delivers a tale of perseverance and triumph as the budding surgeon steered toward his goals in a country where he often felt like an outsider.
The author’s medical career journey is an inspirational one; he pulls no punches in detailing the prejudice he faced throughout his life because of his race. Recalling painful memories from school, he writes: “For England, I was too dark. For Egypt, I was too pale. My classmates called me by the menacing name ‘gyppo’ or ‘WOG.’ ” Meguid’s openness regarding his relationship with his parents is also enlightening. Regarding the feeling that his mother abandoned him in Germany, he reflects: “She offered no apology, no explanation or remorse. It was as if she had not heard me.” For a surgeon to adopt a precise, clinical tone is somewhat expected. Yet despite the emotional excavation conducted here, the tone throughout is strangely cold. Referring to a woman who expressed interest in him, Meguid quips: “How could she like me that much when I was more enticed by Fred, my cadaver?” Readers who accept the author’s emotionally detached stance will struggle with the memoir’s confused order. Meguid skips back and forth in time without discipline—for instance, he addresses the events of his father’s death on two occasions. The author also repeats his feelings about the British politician Enoch Powell, unnecessarily going over old ground. This framework makes for a disorienting read on occasion. Illustrated with Meguid’s family photographs and a chart showing the requirements needed to pass successfully through the British medical education system in the ’60s, the author’s story is one of valiant struggle, but his stylistic approach is rarely compelling.
A revealing, if often sterile, medical school account.Pub Date: N/A
ISBN: 978-0-9992988-3-1
Page Count: 522
Publisher: Self
Review Posted Online: May 24, 2022
Review Program: Kirkus Indie
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by Stephanie Johnson & Brandon Stanton illustrated by Henry Sene Yee ‧ RELEASE DATE: July 12, 2022
A blissfully vicarious, heartfelt glimpse into the life of a Manhattan burlesque dancer.
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New York Times Bestseller
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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by Brandon Stanton photographed by Brandon Stanton
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by Pamela Anderson ‧ RELEASE DATE: Jan. 31, 2023
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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