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FORGIVE AND FORGET

A GAY MAN’S MEMOIR

A self-involved but sometimes affecting account of the discontents of life in the closet.

A gay man counts the slings and arrows he has suffered in this autobiography.

The 85-year-old Burke looks back on successes and disappointments, the latter often stemming from homophobia. He recalls a boyhood in Uniontown, Pennsylvania, made hard by his father’s abandonment of the family and the author’s need to keep his same-sex attractions secret (while fending off the gropings of two men who guessed the truth). After a stint in Cleveland as a reporter, he moved to New York City and found the “brilliant” life he had dreamed of. He started a career in advertising that included work on the Frito Bandito campaign. Burke cruised the Hudson docks and began a 40-year relationship with editor and historian Jack Bernard, replete with opera and sojourns on Fire Island, where he once escaped a police raid on a gay trysting spot by running into the sea. The second half of the author’s alternatively rancorous and compassionate memoir focuses on his and Jack’s real estate investments, including two Manhattan apartment buildings. The sections on their savage legal battles with rent-controlled tenants are riveting. (One ploy they used was to deliberately commit and then fix many trivial housing code transgressions so as to meet the requirement of correcting 80% of their violations that would allow them to hike rents.) The narrative continues to the purchase of a château in France and, after Jack’s death, several houses in West Virginia with artist Frank Grant, whom Burke married. Sprinkled in are musings on sociopolitical issues, including the Republican Party’s lack of compassion, the dangers of using CRISPR technology to excise “gay genes,” and the marginalization of the black community’s concerns that he witnessed as a newspaper reporter.

Burke’s rambling recollections are by turns nostalgic and wounded. He spends much time rehashing and then forgiving injuries inflicted by everyone from teenage thugs who almost attacked him and co-workers who uttered casual anti-gay slurs to a woman who babysat him in childhood who he imagines would have harbored animus against him had she known he would grow up gay. (“Let kindhearted Mrs. Paulo be the first one I forgive.”) He’s self-lacerating in discussing his own sins, including his defensive paranoia against the “amorphous mass of heterosexuals” he reflexively tags with homophobia—“I have always suspected that every straight person harbors unspoken hateful thoughts of me”—and his subterfuge in inventing a girlfriend to explain his nocturnal outings. (“I consider that with this falsehood I betrayed my mother and descended to a low level indeed.”) These recriminations can make the memoir feel claustrophobic. But whenever Burke looks outside of himself, he manages piquant and entertaining sketches of his surroundings. (“Apparently he will not be spraying Roundup today, nor regaling us with the glories of it and all American products, and deploring the shame of everything French except French wine and French women,” he observes of his gardener in France.) When the author is probing the loss of loved ones—“He smiled at me, and despite his weakness pulled himself part way up on the stretcher, extended his right arm full length, and waved at me,” he writes of Jack’s terminal decline—he’s at his best. In these passages, Burke’s limpid prose is evocative and moving.

A self-involved but sometimes affecting account of the discontents of life in the closet.

Pub Date: N/A

ISBN: N/A

Page Count: 249

Publisher: Manuscript

Review Posted Online: May 21, 2020

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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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