A three-cheers homage to an America that, Bennett suggests, is returning to its open-arms promise of days past.
A fan’s notes on the beckoning city on the hill, the America of old.
"America existed almost as an alternate planet to me, a place filled with possibility and promise, where life seemed to be lived with a different gravitational pull.” So writes Liverpudlian Bennett, the descendant of a Russian Jew who left home to go to America and mistakenly got off in the U.K. instead—all reason enough for the author to have considered himself, from his earliest years, as “an American trapped in an Englishman’s body.” If his parents and schoolmates were sometimes bemused by his attachment to such emblems of American popular culture as Saturday Night Live, he found encouragement in the teacher he fondly calls “Fat Knacker,” who told tales of an America that welcomed newcomers and promised grand adventures. Most of Bennett’s entertaining memoir takes place in the U.K., though at the end, he finally arrives in the U.S., first in Chicago and then in New York. “For me, the United States has proven to be a land so free, you even allow bald blokes with accents to appear on television,” he writes appreciatively, having logged many hours as the co-host of Men in Blazers, a popular soccer-focused sports show. Bennett is good-natured, self-deprecating, and wryly observant throughout, recounting a disastrous bar mitzvah, feckless romances, teenage infatuations, and suchlike things. He takes a serious turn, though, when he writes about when he finally became an American, a time when the nation was presided over by a racist xenophobe. “The fact I had become a citizen at the very time the United States became so turbulent and chaotic was crushing,” he writes, noting that like so many other immigrants, he had come to the country on a tourist visa and simply stayed on, never having had to cultivate the fear of authorities that so many other would-be Americans have to endure.
A three-cheers homage to an America that, Bennett suggests, is returning to its open-arms promise of days past.Pub Date: June 29, 2021
ISBN: 978-0-06-295869-3
Page Count: 336
Publisher: Dey Street/HarperCollins
Review Posted Online: May 3, 2021
Kirkus Reviews Issue: May 15, 2021
BOOK REVIEW
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 virtuoso performance and an ode to an undervalued medium created by two talented artists.
The veteran actor, comedian, and banjo player teams up with the acclaimed illustrator to create a unique book of cartoons that communicates their personalities.
Martin, also a prolific author, has always been intrigued by the cartoons strewn throughout the pages of the New Yorker. So when he was presented with the opportunity to work with Bliss, who has been a staff cartoonist at the magazine since 1997, he seized the moment. “The idea of a one-panel image with or without a caption mystified me,” he writes. “I felt like, yeah, sometimes I’m funny, but there are these other weird freaks who are actually funny.” Once the duo agreed to work together, they established their creative process, which consisted of working forward and backward: “Forwards was me conceiving of several cartoon images and captions, and Harry would select his favorites; backwards was Harry sending me sketched or fully drawn cartoons for dialogue or banners.” Sometimes, he writes, “the perfect joke occurs two seconds before deadline.” There are several cartoons depicting this method, including a humorous multipanel piece highlighting their first meeting called “They Meet,” in which Martin thinks to himself, “He’ll never be able to translate my delicate and finely honed droll notions.” In the next panel, Bliss thinks, “I’m sure he won’t understand that the comic art form is way more subtle than his blunt-force humor.” The team collaborated for a year and created 150 cartoons featuring an array of topics, “from dogs and cats to outer space and art museums.” A witty creation of a bovine family sitting down to a gourmet meal and one of Dumbo getting his comeuppance highlight the duo’s comedic talent. What also makes this project successful is the team’s keen understanding of human behavior as viewed through their unconventional comedic minds.
A virtuoso performance and an ode to an undervalued medium created by two talented artists.Pub Date: Nov. 17, 2020
ISBN: 978-1-250-26289-9
Page Count: 272
Publisher: Celadon Books
Review Posted Online: Aug. 30, 2020
Kirkus Reviews Issue: Sept. 15, 2020
PERSPECTIVES
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