A richly detailed, often surprising work of comic-book scholarship.
Hanley traces the long, strange existence of Wonder Woman, the world’s most famous female superhero and complicated feminist icon.
Wonder Woman’s creator, psychologist William Moulton Marston, proves to be by far the most fascinating character in the narrative. An accomplished three-time Harvard graduate, co-inventor of the polygraph (which found an analog in Wonder Woman’s truth-compelling magic lasso) and developer of the still relevant DISC theory of human behavior, Marston was also a polyamorous bondage enthusiast who believed in the imminence of a shift in society toward matriarchy. His creation was intended to prepare young boys for their inevitable disenfranchisement—indeed, to make them happy about it. From this heady stew of high-minded theory and sexual kinkiness, Marston added a pastiche of Greek mythology tropes, and his Avenging Amazon was born. Hanley charts the many incarnations of the character over the decades, from bland post-Marston escapist twaddle to the disastrous attempts to make her “relevant” and hip in the mod era to Gloria Steinem’s successful campaign to return Wonder Woman to her girl-power roots and establish her as an icon of liberal feminism. At each stage, Wonder Woman was beset by bizarre tonal inconsistencies, muddled ideology and frequent editorial neglect or incompetence. Hanley identifies the character’s lack of a coherent, consistent core and, paradoxically, her strength as an icon. Simultaneously semiotically loaded and a blank slate, Wonder Woman is uniquely positioned to reflect whatever values her various constituencies wish to project. Hanley’s analysis is well-argued and richly supported, but he is prone to long digressions—e.g., his discussion of Marston’s cheesy erotic novel and a fixation on Lois Lane. Ultimately, though, the author offers a compelling and insightful consideration of a cultural icon that has endured and engaged with the culture for many decades without ever truly being known.
A richly detailed, often surprising work of comic-book scholarship.Pub Date: April 1, 2014
ISBN: 978-1-61374-909-8
Page Count: 304
Publisher: Chicago Review Press
Review Posted Online: June 11, 2014
Kirkus Reviews Issue: July 1, 2014
A moving meditation on mortality by a gifted writer whose dual perspectives of physician and patient provide a singular...
A neurosurgeon with a passion for literature tragically finds his perfect subject after his diagnosis of terminal lung cancer.
Writing isn’t brain surgery, but it’s rare when someone adept at the latter is also so accomplished at the former. Searching for meaning and purpose in his life, Kalanithi pursued a doctorate in literature and had felt certain that he wouldn’t enter the field of medicine, in which his father and other members of his family excelled. “But I couldn’t let go of the question,” he writes, after realizing that his goals “didn’t quite fit in an English department.” “Where did biology, morality, literature and philosophy intersect?” So he decided to set aside his doctoral dissertation and belatedly prepare for medical school, which “would allow me a chance to find answers that are not in books, to find a different sort of sublime, to forge relationships with the suffering, and to keep following the question of what makes human life meaningful, even in the face of death and decay.” The author’s empathy undoubtedly made him an exceptional doctor, and the precision of his prose—as well as the moral purpose underscoring it—suggests that he could have written a good book on any subject he chose. Part of what makes this book so essential is the fact that it was written under a death sentence following the diagnosis that upended his life, just as he was preparing to end his residency and attract offers at the top of his profession. Kalanithi learned he might have 10 years to live or perhaps five. Should he return to neurosurgery (he could and did), or should he write (he also did)? Should he and his wife have a baby? They did, eight months before he died, which was less than two years after the original diagnosis. “The fact of death is unsettling,” he understates. “Yet there is no other way to live.”
A moving meditation on mortality by a gifted writer whose dual perspectives of physician and patient provide a singular clarity.Pub Date: Jan. 19, 2016
ISBN: 978-0-8129-8840-6
Page Count: 248
Publisher: Random House
Review Posted Online: Sept. 29, 2015
Kirkus Reviews Issue: Oct. 15, 2015
PERSPECTIVES
For Howard Zinn, long-time civil rights and anti-war activist, history and ideology have a lot in common. Since he thinks that everything is in someone's interest, the historian—Zinn posits—has to figure out whose interests he or she is defining/defending/reconstructing (hence one of his previous books, The Politics of History). Zinn has no doubts about where he stands in this "people's history": "it is a history disrespectful of governments and respectful of people's movements of resistance." So what we get here, instead of the usual survey of wars, presidents, and institutions, is a survey of the usual rebellions, strikes, and protest movements. Zinn starts out by depicting the arrival of Columbus in North America from the standpoint of the Indians (which amounts to their standpoint as constructed from the observations of the Europeans); and, after easily establishing the cultural disharmony that ensued, he goes on to the importation of slaves into the colonies. Add the laborers and indentured servants that followed, plus women and later immigrants, and you have Zinn's amorphous constituency. To hear Zinn tell it, all anyone did in America at any time was to oppress or be oppressed; and so he obscures as much as his hated mainstream historical foes do—only in Zinn's case there is that absurd presumption that virtually everything that came to pass was the work of ruling-class planning: this amounts to one great indictment for conspiracy. Despite surface similarities, this is not a social history, since we get no sense of the fabric of life. Instead of negating the one-sided histories he detests, Zinn has merely reversed the image; the distortion remains.
Pub Date: Jan. 1, 1979
ISBN: 0061965588
Page Count: 772
Publisher: Harper & Row
Review Posted Online: May 26, 2012
Kirkus Reviews Issue: Jan. 1, 1979
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