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AN ACCIDENT OF BIRTH

An entertaining, honest, sprawling account of growing up in the second half of the 20th century.

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An extensive memoir chronicling one man’s American life.

Blum was born in 1955 and grew up on the Upper East Side of Manhattan. He was adopted at the age of four months, and his adoptive parents were well-to-do people about town: “It seemed like they were always dressing up in black tie to go somewhere, to a play, to Lincoln Center, or to a party, or a dinner”; they were not ones to “stay home and watch TV or play games with the kids.” He attended prestigious educational institutions like Choate and Pomfret. Times were changing, even at elite East Coast boarding schools, and the author had experiences with drugs—including an incident at Pomfret in which a good portion of the student population got sick from low-quality LSD. In 1970, when John Froines (one of the Chicago Seven) came to speak on campus, Blum describes the occasion as an expression of “inspiring, full-on left-wing radicalism.” The author went on to college in Wisconsin, a place where he engaged in “drinking, a fair amount of recreational drug taking, fraternities, football, and hockey.” After college, he embarked on a career in advertising. Advertising led to a foray in Hollywood, where he worked with director John Moore on producing the 2001 film Behind Enemy Lines. The author was 60 when he discovered that he had three biological brothers. Throughout the memoir, these siblings describe what was going on in their own lives at different periods, noting that their mother was an alcoholic who had difficulties with money. She had told them that their eldest brother had died in childbirth; she proved to be “a classic unreliable narrator, constantly telling made up stories and half-truths.”

As Blum charts his life story, he includes many detours. For instance, he notes that while he didn’t initially like the band the Eagles, they “did start to get interesting when success started to eat them up inside and their milieu became regret and loss of innocence and moral bankruptcy.” Discussing movie stars in modern cinema, he observes, “[T]he more famous they are, the more they have at stake because usually a movie is described in terms of the lead actors that are attached.” While such insights contribute to a full image of the author, they have a meandering quality—an extensive list of places that Blum has traveled to for work (“Milan, Rome, Barcelona, Beijing, Tokyo”) is later followed by a list of movies directed by Howard Zieff. Many of these tangents, such as descriptions of the author’s forays into learning jazz guitar, are not particularly thrilling; nevertheless, Blum has a distinctive sardonic tone and a compelling, often humorous personal story to share. The adoption material packs an emotional punch: Writing of his adoptive parents, he reflects, “‘We just wanted so much to have kids, and we couldn’t, so we decided to adopt, and that’s how we got you boys, and we were so happy, etc.’ was the kind of narrative you never heard from my parents.”

An entertaining, honest, sprawling account of growing up in the second half of the 20th century.

Pub Date: May 12, 2026

ISBN: N/A

Page Count: -

Publisher: UnCollected Press

Review Posted Online: March 27, 2026

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  • New York Times Bestseller

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TANQUERAY

A blissfully vicarious, heartfelt glimpse into the life of a Manhattan burlesque dancer.

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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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LOVE, PAMELA

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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