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| 1668023776
| 9781668023778
| 1668023776
| 4.51
| 8,173
| Sep 17, 2024
| Sep 17, 2024
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None
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Notes are private!
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0
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not set
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not set
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Aug 16, 2024
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Hardcover
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| 0062825232
| 9780062825230
| 0062825232
| 4.43
| 6,253
| May 14, 2024
| May 14, 2024
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it was amazing
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When I was a pint-sized 4-year old in the late 80s living in the heart-shaped state of the US (Ohio); I wasn’t playing with Barbie dolls or pretending
When I was a pint-sized 4-year old in the late 80s living in the heart-shaped state of the US (Ohio); I wasn’t playing with Barbie dolls or pretending to be a princess and instead developed my first musician crush (Axl Rose) and was ballsy enough to ask my mother if I could attend a Guns N Roses concert (clearly, that was a ‘no’). As we entered the 90s, I wore Chucks and plaid, watched “Daria” and “Beavis and Butthead” and my favorite bands were Nirvana, Stone Temple Pilots, Pearl Jam, Soundgarden and Blind Melon. I was in elementary school learning basic subjects but was already a full-blown grunge rocker chick. Aside from a detour when I was obsessed with boyband 98 Degrees in high school (I still am!); I never outgrew this version of myself. During this time, I started to listen to punk music, become interested in the punk movement and was introduced to feminist punk band, Bikini Kill. Lead singer Kathleen Hanna fascinated me and I thought she was simply the coolest. Flash forward to my college years when I was now working in the music industry and I heard about a band, Le Tigre from the music magazine I was working under. Who was in the band? None other than Bikini Kill’s Kathleen Hanna! It also came on my radar that Kathleen had married Adam Horowitz (Ad-Rock) of Beastie Boys fame. So, obviously, she was still cool as eff. Well, ladies and gents, Kathleen Hanna (currently touring with Bikini Kill at the time of this review) has stepped forward ready to offer new revelations of her punk rock life with her first memoir, “Rebel Girl: My Life as a Feminist Punk”. Musician memoirs tend to fit two camps: they are either terribly written and are overflowing with heavily-inflated, entitled stories about sex, drugs and rock n roll or they are penned considerably well but are monotone and ‘boring’ in terms of content often begging the question, “Why did you even write this? Did you need extra cash?” It is fair to go into such reading with an open state of mind but not necessarily expecting the best. Well, fear not because Hanna delivers one of the best celebrity memoirs actively in the top of its class – and I’ve read MANY. Although chronological in format, “Rebel Girl” takes a narrative story approach and flows like a collection of perfectly assembled literary short stories. Her writing is concise but image-laden, to the point but offering the perfect ratio of details at the same time, spunky but also sweet and thoroughly engrossing the reader. I was often late to my engagements and even over-boiled a pot of water because I couldn’t stop reading. Hanna allows the reader to jump into the pages and feel as though they are living the events with her being genuinely emotive with her writing. None of this should be surprising as Hanna is a songwriter and a creative; but “Rebel Girl” is truly outstanding when it comes to famous figure memoirs. Hanna doesn’t censor herself from divulging hot topics such as drugs, rapes, borderline inter-family incest/sexual assault, abortions, the feminist movement and fellow musicians like the late Kurt Cobain, Ian MacKaye of Fugazi, Joan Jett and Kim Gordon of Sonic Youth. Unlike her memoir-writing peers, however, Hanna doesn’t name drop or attempt to create sensationalism – this was simply her life. In fact, Hanna often glosses over details regarding these big names (how they met, her inner thoughts/feelings toward these individuals, etc) leaving readers with some unanswered questions that is obviously meant to make sure she DOESN’T come off as boastful. This does bleed over to other topics in “Rebel Girl” where Hanna drops a bomb nonchalantly and doesn’t elaborate leaving some reader dissatisfaction and chaos in her trail but I suppose this is very punk rock of her and she can discuss (or not discuss) whatever the hell she wants. “Rebel Girl” features very short chapters (some as condensed as 1-2 pages) which generally create a disjointed and clunky piece in the hands of other writeres but just like everything else Hanna does: it works to the benefit of “Rebel Girl”. The memoir is smooth and makes perfect sense with a timely and exciting heartbeat. Also noticeable, although luckily not overdone, is Hanna’s habit of over explaining herself and overly wanting to show that she is ‘woke’ and not racist and how the Riot Grrl movement she started got out of hand. I understand her need to show her sensitivity but calm down, we get it. You don’t have to be so defensive. No one is accusing you of being a bad person. “Rebel Girl” does suffer from a slight cool down in the latter chapters revealing the timeline of falling in love with Adam while he was still married (BAD!!!!) and the days of Le Tigre and Julie Ruin. Something about the storytelling seemed ‘empty’ in comparison to the former pages and was missing the same magical pizzazz even being repetitive. This is redeemed as Hanna highlights her medical issues and Lyme Disease diagnosis but it is fair to say the concluding chapters aren’t as titillating. Hanna concludes “Rebel Girl” with a sort of self therapy analysis of her life/ways and cements that she is STILL a work in progress even in the fifth decade of her life and as a mom of an adopted son, Julius. This felt slightly abrupt and cut- off but also made sense in the context. “Rebel Girl” is buttressed with black and white photos throughout and a section of color photo plates (although the captions/descriptions for the photo plates are in the back of the book and not conducive to flipping back and forth just to decipher who/what is in each photo). Hanna’s “Rebel Girl” is a stunningly, crisply constructed memoir that packs a punch with vivid storytelling but also stays in its lane. Even though "Rebel Girl" isn't 'perfect'... it is certainly teetering on the edge. “Rebel Girl” is recommended for all Bikini Kill/Kathleen Hanna fans, early 90s music aficionados, those interested in the feminist movement and general celebrity memoir seekers. ...more |
Notes are private!
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1
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Aug 17, 2024
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Aug 23, 2024
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Jun 30, 2024
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Hardcover
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| 1668009048
| 9781668009048
| 1668009048
| 3.86
| 472,440
| Oct 24, 2023
| Oct 24, 2023
|
really liked it
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The current pop princess – and probably owner of the planet – may be Taylor Swift; but she inherited that bejeweled crown from Britney Jean Spears. Br
The current pop princess – and probably owner of the planet – may be Taylor Swift; but she inherited that bejeweled crown from Britney Jean Spears. Britney was EVERYWHERE in the late 90s/early 2000s: men wanted her and women wanted to be her. Her star may have dimmed slightly; but she never left the hearts of my generation. In most recent times, Britney was in the media due to the #freeBritney movement coordinated by her fans to remove her conservatorship held by her awful, evil father (yes, I went there. I hate him even more after reading this text) which won Britney her freedom after 13 years. Now was the time for Britney to finally tell her side of the story and it came in the form of the eagerly-anticipated, highly publicized memoir, “The Woman in Me”. Even though the media feeding frenzy behind “The Woman in Me” (even without Britney ever doing any press) basically spoiled the entire memoir by disclosing all the juicy tidbits; a general sense of urgency and excitement still surrounds the memoir. “The Woman in Me” follows a standard, chronological timeline starting with Britney’s family tree, childhood and upbringing in Kentwood, Louisiana. Initially, “The Woman in Me” brings a slight wave of disappointment as Spears doesn’t seem to effectively detail her life nor reveal her inner psyche/emotions either at the time of the events or in hindsight. The narrative is glossed over and is too vague: less than what readers would expect (I will return to this later). It is said that several ghostwriters participated in the compilation of “The Woman in Me” and therefore their writing skills can be questioned over that of solely placing the blame on Spears. On the other hand, “The Woman in Me” manages to capture her tone and voice and this successfully builds a connection with Spears even despite the light start. Spears remedies this filtered storytelling by becoming more comfortable with her chronicle as “The Woman in Me” proceeds. She acknowledges all the key points, salacious gossip and events fans are familiar with; while unveiling what was simultaneously happening behind the scenes that were hidden from view. This not only makes events more clear; but unwraps the person that Spears is, overall, making her more relatable and understood. “The Woman in Me” stands out among celebrity memoirs in a couple ways that also highlights the moral code that Spears seems to hold herself to: 1) Traditionally, most celebrity memoirs name drop other celebrities and try to make their own popularity strengthen with their Hollywood ties/friends. Spears rarely does this and even when mentioning other famous figures; it is almost in-passing or simply not in an obnoxious way. This is exemplary as Spears could have certainly spilled scandal on EVERYONE. 2) High-profile figures fill their memoirs with a ‘woe-is-me’ – attitude never taking accountability for their own deeds (including drug use) and point fingers at everyone else wanting a pity party. Spears is not guilty of this in “The Woman in Me” and instead makes it a point to express that she knows she isn’t perfect, has had her fair share of wrong-doing but that her ‘punishments’ aren’t in-line with her actions and have been over the top/undeserved. Spears could have also stormed on a rage-filled binge cussing everyone and anyone out for all of the negativity in her life (including the conservatorship) – I know I would have if I was behind the pen of the memoir! In fact, the media made it appear as this would be the case: Britney finally getting revenge! This is not how “The Woman in Me” goes down at all with Spears being cautious and polite in her telling of events. Actually, she is TOO nice! The figures in her life would have deserved some of the crass comments that could have filled the text. This not only elevates “The Woman in Me” above some tabloid fight on the memoir shelves; but also demonstrates the strength of character and maturity that Spears encompasses. The metaphorical volume reaches a crescendo when Spears dives into discussing her existence during her conservatorship, the roles her mother, father and sister, Jaime Lynn, played; her reactions to learning of the #freeBritney movement in real time and her eventual court case and freedom to where she stands today. It is at this point that Spears (and perhaps her ghostwriting team) shout everything from the rooftops. The text is emotive (I admittedly shed a tear at one point, truly feeling for her grief), resonating, philosophical and multi-layered with depth. These latter chapters of “The Woman in Me” are clearly the star of the entire piece. To return to the earlier point about the former portions of the text being rushed, thin and vague: it becomes obvious with the chapters focusing on the conservatorship and her current life; that this was done with intention. It is obvious that “The Woman in Me” isn’t a true memoir. Spears didn’t really care to talk about her entire life and the fans basically know it all, anyway. The whole point of “The Woman in Me” was to finally expose her side of the conservatorship and how it killed her entire spirit and almost made her suicidal. The biography pages are merely to set-up to solidify how awful her family and the people around her already were within the roots. When viewed in this way, “The Woman in Me” is very powerful and critical for all women (and men, too) to read in order for a victim to have a voice. “The Woman in Me” most definitely concludes in a manner that forces readers to consider those around them and that the expression holds true that, “We don’t know what others are struggling with”. “The Woman in Me” does NOT contain a section of photo plates as common in memoirs but it isn’t necessary as everyone has seen a million photos, videos, etc; of the likeness of Britney Spears since 1998. “The Woman in Me” is a super-fast read and isn’t a literary masterpiece; but it is a vital read for all fans of Britney Spears and pop culture. It is also important on the level of feminism as “The Woman in Me” touches upon the double-standards in today’s society against women and the privileges that men hold. Note:“The Woman in Me” was toggling at 3.5 but in lieu of half-stars and due to the strength of the latter chapters; I have rounded up to 4 stars. ...more |
Notes are private!
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1
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Dec 16, 2023
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Dec 17, 2023
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Oct 24, 2023
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Hardcover
| ||||||||||||||
| 1250890977
| 9781250890979
| 1250890977
| 3.81
| 22,672
| Oct 24, 2023
| Oct 24, 2023
|
it was amazing
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I don’t care what you claim as your gender, sexual orientation or sexual identification; I am convinced that EVERYONE is either in love with or wants
I don’t care what you claim as your gender, sexual orientation or sexual identification; I am convinced that EVERYONE is either in love with or wants to be John Stamos. My ex-boyfriend worked as a Set Dresser on the show, “Grandfathered” starring Stamos and he would text me from on-set with stories or sneaking photos. This is something he would normally never do because it is below his professional grade; but my ex knew it made me squeal with jealousy. I even learned that Stamos married his current wife a couple miles from my apartment here in the San Fernando Valley area of Los Angeles. Stamos began making girls scream in the 80s as a teen heartthrob on “General Hospital”, capitulated to fame with “Full House” and showed off his musical chops while touring (and still touring) with the Beach Boys and other musical acts. He’s performed on Broadway, produced sitcoms and started in several television programs and films. Is there anything Stamos HASN’T done?! Writing a book is one; but this can be checked off the list with the heavily-anticipated memoir, “If You Would Have Told Me” where Stamos invites readers into his life and shows that he is more – much more – than just a handsome face. Most Hollywood celebrity memoirs follow the same exact format either A) a straight forward from-birth-to-now autobiography or B) essays expounding on various life lessons or humor incidents experienced in the said individual’s life. These memoirs are either very poorly-written (stick to your day jobs, celebs!) or too far ‘off’ from their real ‘voice’ due to an external ghostwriter. Plus, the texts usually try too hard to be comedic, overly name drop other famous people in a grossly narcissistic way and/or have a pity party about substance abuse. Even though “If You Would Have Told Me” fits into the B option of formatting; it is NOT a victim of the latter crimes. Stamos DOES begin “If You Would Have Told Me” with an intro into his life starting with his highly-publicized DUI and peppers the story with details mentioning his fancy car or popularity which can be off-putting for some readers (myself included); but bear with Stamos. Once you breeze past this, it is obvious that Stamos isn’t fishing for compliments or avoiding fault but rather is doing the opposite: laying his obvious insecurities on the table. Stamos is NOT the typical Hollywood douchebag and is actually ‘a good guy’ with depth that goes far beyond that gorgeous, dark complexion. Beware that the urge to mention expensive cars or hot spot restaurants does continue to occur within “If You Would Have Told Me” but it is tolerable due to its low ratio opposite much more substantial text. “If You Would Have Told Me” follows a chronological timeline but doesn’t highly focus on a straight-forward life or career re-telling. Stamos highlights both these personal and professional stories but infuses the text with psychological and even philosophical meanderings. Using this method, Stamos reveals his inner self and surprises readers with his complexity and spirituality. Don’t fret that Stamos is pretentious, as that is not the case. “If You Would Have Told Me” is quite organic, accessible and personable. Stamos is intelligent and nuanced but he also has his humorous side and is conversational with readers. There is something very special about “If You Would Have Told Me”; but perhaps this is because there is something very special about Stamos, himself. Stamos has been very forward during the entire writing process that he worked alongside ghostwriter Daphne Young and has paraded her writing prowess in being able to capture his voice. This is 100% true of “If You Would Have Told Me”. Instead of the typical dissonance between ghostwriters and celebrities where readers can obviously tell, “So-and-so doesn’t talk like this!”; “If You Would Have Told Me” is so aggressively the embodiment of Stamos that readers can hear his voice through the text. It is truly a surprise that there is a ghostwriter, at all. Daphne Young certainly deserves props! The narrative of “If You Would Have Told Me” is compelling, gripping and is a strong page-turner. I found myself distracted and ‘running late’ to appointments because I had to read a few more pages of this magical memoir! Stamos is raw and shares the lessons he’s learned but isn’t above admitting his faults, fears, pains and confusions with life. These truths carry “If You Would Have Told Me” and is empowering to readers in a healing sort of way. Ironically, “If You Would Have Told Me” can be compared in substance and style to his “Full House” co-star Andrea Barber’s memoir, “Full Circle: From Hollywood to Real Life and Back Again” (sidenote: I wrote Barber a raving review on here and she personally thanked me for my review!). Stamos exemplifies a mature, grown-ass man by not focusing on sex, drugs, rock-n-roll, gossipy celebrity party stories or salacious rumors. Yes, Stamos mentions of some of this; but it is somewhat in passing and not glorified. In fact, Stamos sometimes cuts stories off or doesn’t dive into deep enough detail leaving readers with some unanswered questions but this could be due to privacy reasons which is understandable as Stamos doesn’t have to tell us everything (even if we wish he did!). Related to this, don’t expect countless “Full House” (or “Fuller House”) behind-the-scenes stories as Stamos hardly discusses that aspect of his life excluding his relationships with Bob Saget and Dave Coulier which he mentions often. This might be disappointing for fan readers of “If You Would Have Told Me” but again, the highlight of “If You Would Have Told Me” is the ability to go above the glitz and glamour and dig deeper. There IS a major “Full House” blunder, however. Page 123 recalls Mary Kate and Ashley Olsen playing Michelle Tanner, “As identical twins, they can take turns sharing short takes without spending long hours on the set.” Mary Kate and Ashley are FRATERNAL twins and NOT identical! This has been discussed about 29084578956089234897509 times. How the heck did Stamos, Ms. Daphne Young and an editor allow that to make it to publishing!? Yikes! Stamos kept the most emotive chapters for last, surrounding such events as the death of his mother, the passing of his ‘brother’ and co-star Bob Saget and his marriage to Caitlin and birth of their son, Billy (named after his father). Stamos is unfiltered and human in his expressions and readers will shed tears (at least, I did). This concludes “If You Would Have Told Me” in a memorable and magnetic way that truly reveals the humble and amazing man that is John Stamos. "If You Would Have Told Me" contains not just one but TWO sections of glorious photo plates. “If You Would Have Told Me” is an engaging and entertaining memoir but also hits the deeper, soul points that elevate it above fellow celebrity memoirs. Stamos is ‘real’ and more than the compartmentalized ego that Hollywood tries to make him. He is relatable with both talents and flaws and his actively learning alongside the rest of us. Although a relatively fast read; “If You Would Have Told Me” is a wonderful memoir and is recommended for all fans of John Stamos, “Full(er) House”, readers ripe with 80s and 90s nostalgia and those seeking a celebrity memoir with some depth. ...more |
Notes are private!
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1
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Nov 16, 2023
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Nov 19, 2023
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Sep 19, 2023
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Hardcover
| ||||||||||||||
| 1250878357
| 9781250878359
| 1250878357
| 3.74
| 64,178
| Jun 06, 2023
| Jun 06, 2023
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liked it
|
Most of us discovered Elliot Page in his titular lead role in the 2007 film, “Juno” (although he’d been acting since he was a small child). Nowadays,
Most of us discovered Elliot Page in his titular lead role in the 2007 film, “Juno” (although he’d been acting since he was a small child). Nowadays, the “Umbrella Academy” star graces the pages of the press for his declaration of being gay and his highly-publicized transition into a male body in order to match the gender he’s felt he should have been born. As an advocate on such subjects (Page is also fighting personal demons and promoting self-growth); Page certainly has a lot to say. Some of these truths are declared in Page’s debut memoir with, “Pageboy”. “Pageboy” is not the typical Hollywood memoir in that readers will discover less of a behind-the-scenes La La Land sensational romp and more of a therapy-session journal. Meaning, “Pageboy” takes on a thematic approach to Page’s life in which he mostly discusses his self-journey to come to terms with being gay and wanting to surgically transition into a male. Yes, there are some celebrity name-drops (Kate Mara, anyone?); but overall, “Pageboy” is a more complex memoir. Some readers have responded negatively to this stylistic format; but, in reality the mish-mosh chronology -essay style versus the straight biography timeline is becoming quite popular among celebrity memoirs and frankly helps alleviate boredom. The foundation is structurally sound and readers mentioning a difficulty in “following along” should accept that as a personal problem as it is truly not present in “Pageboy”. Page’s actual writing is quite elevated in comparison to his fellow celebrities who typically pen memoirs on an elementary-level and hire poor editors. However, “Pageboy” still suffers from some blatant flaws. Firstly, Page has the tendency to deviate from the topic on hand and over-detail tangents such as the architectural history of buildings. These paragraphs literally have nothing to do with his life or stories and are better fit for stage notes or for art department’s production call sheets. It is simply unnecessary and makes readers question the integrity of the editor in “Pageboy”. Second, Page is so massively guarded and insecure; that the majority of “Pageboy” is a retelling of his journey but without truly revealing his feelings, analysis of the situations or psyche. “Pageboy” is a therapy exercise of self-reflection rather than really being an asset to readers. Occasionally, the text comes off as ‘pointless’ if Page isn’t willing to “let readers in”. Isn’t that the whole point of a memoir – to allow readers to truly get to know and connect with the individual? There is an absence of a true acquaintance with Page. This can possibly be due to the fact that he is still on the path to truly discovering his own self-worth (his emotional struggle is still so evident) but again, that is the point of writing such a piece and not just to recall events. It isn’t until approximately page 160 that Page allows some of the walls to disintegrate but still not enough to resurrect “Pageboy”. Even though the media has promoted “Pageboy” as being a collection of juicy, sex stories – this is a total fabrication, misconception and marketing ploy. Yes, Page does mention sexual encounters, cum and body parts; but honestly, it is on a much more prude level than the memoir has been advertised. The most openly-sexual portion is the reveal of Page’s relationship with actress Kate Mara (while she had a boyfriend); but other than that, “Pageboy” is not at all raunchy. You will find more people doing the nasty in a hip hop video. The prime disappointment with “Pageboy” is Page’s negativity and, for the lack of a better term, whining. Page HAS, without a doubt, experienced bullying, hate, threats and discomfort from fans, family, friends and Hollywood executives/peers and obviously this was undeserved and NOT acceptable. There is no reason why, in the year 2023, the LGBTQIA2+ community has to deal with ANY of this. Who cares about anyone’s sexual orientation, preference or gender as long as they aren’t hurting anyone?! However, the rest of Page’s life hasn’t been ‘that bad’. My father was killed when I was only four years old, my mother brutally physically and emotionally abused me, she remarried several times with one stepfather raping me regularly at age eight, I have NO extended family as both mother and father were only children, I am first-generation in the US which makes it virtually impossible to succeed (it generally takes 2-3 generations for immigrants to truly be successful) and my list goes on. My life has been 100x worse than Page in these regards and yet she hardly EVER mentions anything positive, happy or joyful in “Pageboy”. It would be far more beneficial to readers if Page demonstrated a range of emotions and thus made “Pageboy” more complete. Again, I understand that Page struggled and still is with his sexuality and body and “Pageboy” serves as a mere reflection of this journey. My own memoir would also be a ‘Debbie Downer’. Even so, this makes Elliot seem a bit entitled, immature and ungrateful for the privileges he does possess. On the other hand, I did come away from “Pageboy” with a grasp of my own Cis-gender privilege which I never realized I have because it isn’t something I think about or notice. “Pageboy” is certainly helpful in this regard especially to those readers who reside in superficial Los Angeles like Page and I (I live in North Hollywood). Much of the content within “Pageboy” is repetitive in that the essays are basically the same experience/story but a different time/day serving to make “Pageboy” tedious and less eventful while reading. Page missed the mark on effectively reaching readers both on an emotional level or educating on the topic of transgender transformations. I learned more during an episode of TLC’s reality dating show, “90 Day Fiancé” when a male described his surgeries and feelings experienced while transitioning from a female. Page’s conclusion of “Pageboy” is equally ill-footed in the emotional realm and doesn’t truly stir readers. “Pageboy” is simply not as emotive, memorable and ally-building as suspected or expected. “Pageboy” is like a magazine editorial interview but without revealing his inner-self. Unlike standard Hollywood memoirs; “Pageboy” is devoid of a section of photo plates. This may be because Page doesn’t like viewing photos of his old body but even some images of his family, city in Canada he grew up, current photos, etc; would have been helpful while reading. “Pageboy” is not ‘bad’ and is most certainly better than many celebrity memoirs in the field. Page composed the proper foundation for a wonderful piece but he needed to let go and expand: be fearless! “Pageboy” is missing the magic that some of his peers managed to flare in their own memoirs. Despite this, “Pageboy” is suggested for fans of Elliot Page or those interested in the journey of a trans- individual. ...more |
Notes are private!
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1
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Jun 28, 2023
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Jul 03, 2023
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May 22, 2023
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Hardcover
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| 0593355423
| 9780593355428
| 0593355423
| 3.66
| 29,529
| Nov 15, 2022
| Nov 15, 2022
|
liked it
|
Lauren Graham is one of those artists who isn’t always in the limelight (perhaps because she doesn’t exhibit any saucy or ‘bad’ behavior); and yet her
Lauren Graham is one of those artists who isn’t always in the limelight (perhaps because she doesn’t exhibit any saucy or ‘bad’ behavior); and yet her name is recognized and beloved by all – especially those in the “Gilmore Girls” fan cult. Quick note: I am a proud member of said cult and attended the 2022 “Gilmore Girls” Christmas event at Warner Brothers studios where fans experienced an immersive holiday walk-through on the ‘Stars Hollow’ back lot set. It was one of the best days of my life. Her longevity in entertainment, sassy but not over-the-top humor coupled with a down-to-earth demeanor; makes her the best friend fans wish they could have. Lauren Graham delights readers with her third installment of essays in, “Have I Told You This Already?: Stories I Don’t Want to Forget to Remember”. Lauren Graham is far from salacious and this is reflected in her feel-good writing. Like her previous offerings; “Have I Told You This Already?” is not a gossip magazine, ultra-revealing, Hollywood sex and rock-n-roll memoir; but is rather a collection of stories that readers will find to be either insightful, entertaining or both. Graham’s tone is conversational and welcomes readers with open arms but there is still a clear filter where Graham doesn’t want to be too revealing. This is her right and prerogative; but it distances herself to some degree from her fans. As much as I adore Graham – and I truly do – “Have I Told You This Already” is a tad absent with the intrigue. Okay, bluntly, it is a bit boring. It is appreciated that Graham shares stories that are relatable, humble and believable; but there is little about the essays that are memorable or standout once the book is closed. That’s not to say Graham doesn’t pepper the pages with some cheeky humor and charm; but it fails to live up to her first memoir/essays (the second wasn’t that great either). “Have I Told You This Already” straddles the line between being a “regular person” and just not truly having much more to say. “Have I Told You This Already?” does contain some Hollywood-life tales but to the book’s advantage; they are described without any conceited snub and are told from the perspective of Graham not ultimately understanding the lifestyle; herself. This adds to her friendly persona and the ability for readers to connect with her being that few of her readers live the Hollywood life (I actually live in North Hollywood in LA so I understand a bit better the life she speaks of). Graham has the advantage of being a decent writer in terms of language and literary devices as, sadly, too often Hollywood memoirs/essays are written so poorly that someone should really tell the celebrities to stick to their day jobs. “Have I Told You This Already?” is readable and easy-to-understand by the general reader but not dummied down. The final two chapters/essays in “Have I Told You This Already?” take a noticeably striking turn with Graham diving deeper into her emotions and lessons than at any previous point in the text. It is at this time that readers finally experience the compelling essence and union with Graham that is initially missing and so desperately desired. If only the entirety of “Have I Told You This Already?” played out like the book’s conclusion; than the piece would be much more riveting and of value. There is honestly not too much to note about “Have I Told You This Already?”. The text is ‘cute’ and a light, quick read that die-hard fans will enjoy; but it is just middle-fare and not something to rush toward and most certainly not suitable for non-Graham fans only interested in Hollywood, in general. “Have I told You This Already?” is simply ‘okay’. Sorry Lauren- I still love you! ...more |
Notes are private!
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1
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Jan 2023
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Jan 05, 2023
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Aug 01, 2022
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Hardcover
| ||||||||||||||
| 1640125523
| 9781640125520
| 1640125523
| 3.89
| 28
| unknown
| Sep 01, 2022
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really liked it
|
Note: This review is for an ARC proof of “Cold” and may vary from the final published copy. I have received this ARC from the author, Wayne White,
Note: This review is for an ARC proof of “Cold” and may vary from the final published copy. I have received this ARC from the author, Wayne White, who is a close, personal friend. This has NOT influenced the review in any way and I am objective regardless of my friendship. You have been warned, Wayne!
Many people wish to travel to Antarctica: the home of ice, months of darkness-shrouded days and temperatures in the excess of -100⁰ F. Few can say they will ever lay eyes on the continent. Wayne White can – three times over. Wayne White, a former US Marine and federal government contractor, has explored and worked in the most remote locations on the planet garnering him fame as an explorer, in the process. From the tropics to Alaska, from jungles and deserts to the South Pole… he has walked it all. White has served as the Winter Site Manager (WSM) at the Amundsen- Scott South Pole Station during three winter periods and shares his experiences in his first memoir, “Cold: Three Winters at the South Pole”. “Cold” is not your typical biographical memoir and does not offer a background introduction to the author as a person or his life; but instead is a career focus on White’s three winters spent at the South Pole as the WSM and the logistics surrounding the position. In this way, White eschews any emotion, connection and buildup and instead immediately parlays into the WSM position and actual winters at the Amundsen-Scott station. This causes a filter between White and readers and therefore “Cold” is best recommended for those with a predisposed interest in White’s role rather than the average reader. In fact, an absence of emotion is a common trend in “Cold” with White stylistically exposing his winters in the South Pole in a topical breakdown (logistics, food, traditions, etc) and lapses in the human element of letting readers into his psyche and/or sharing his emotions felt during his time as WSM. Consequentially, “Cold” feels slightly clinical and just a tally of behind-the-scenes functions at Amundsen-Scott. On the other hand, this is how White behaves in ‘real life’ as he takes his jobs/duties very seriously and is ‘all-business’ in these matters making “Cold” a fair representation of who he is and ‘real’. That being said, the content of “Cold” is truly captivating and engaging offering readers a look at how staff run the Amundsen-Scott station. Having personally conversed with White during the reduced-capacity South Pole internet hour connections; it is amazing to see what White was experiencing on the other side of the screen in real time. White doesn’t over-emphasize technical jargon and has a conversational tone infusing “Cold” with a narrative that is accessible and easy-to-understand. White isn’t the world’s best writer: “Cold” is peppered with grammatical errors, serial commas and repetition. Hopefully this is due to the ARC version and an editor will clean the material for the final September 2022 release. There is a stigma of an ego on the pages of “Cold”. Even though White is the walking definition of American duty and honor; there is a slight “holier than thou” - attitude. If “Cold” was more emotive and explanatory on a personal level; this could have been redeemed but White is simply too matter-of-fact about his own character which is off-putting. “Cold” does connect better with readers in chapters such as “Traditions” which explores a more human-interaction plot and this finally allows readers to truly engage with White and ‘live’ the experience of Amundsen-Scoot alongside him rather than just read a job description. White relaxes with storytelling as “Cold” progresses with more emotion and unveiling of his inner self. This doesn’t expunge his habit of repetition of facts and stories which he continues to tell over-and-over (he’s like this in real life, as well). The major downfalls in the latter chapters are unnecessary, borderline offensive comments White makes usually concerning women. When discussing inter-sex relationships while in the South Pole isolation; White remarks how women who are average at best in looks outside the ice are supermodels and fought after at Amundsen-Scott. He goes on to remark on the emotional state of women crying over their multiple South Pole boyfriends. These are NOT critical to the impact of his points and could have been omitted. White also rudely shows anger at his wife, Melissa, for an incident of a cat (Tiny Elvis) getting lose from their home when she was very sick. Give her a break! She was sick! Female readers will find some issues with, “Cold”. The unusual details continue with a look into the Covid-19 pandemic and how it affected the crew’s departure from the South Pole. White stresses “masks were worn” and then “we immediately took them off” multiple times. His views on Covid are clear and implied but this demeans the severity the rest of the world was going through and was also not a significant inclusion. The conclusion of “Cold” is the most personal expose of White in the entirety of the text and tugs at readers’ heartstrings showing, that at the end of the day, he is human, after all. This summarizes “Cold” well (although it would have energized the pages to have more of this throughout) and makes the ending memorable. White supplements “Cold” with a section of photo plates although an aerial map of the areas he walked daily on the ice would have been welcome as it is a major part of his time at Amundsen-Scott. “Cold” is not a masterpiece-written text and has many issues with style, grammar and lack of a personal touch; but still manages to be fascinating in its own right. Although “Cold” isn’t suggested for a general memoir audience – it is perfect for those interested in Antarctica exploration and Wayne White, personally. “Cold” is a solid first writing attempt by White and is a quick 1-2 day read. Note #2: I would give “Cold” a solid 3½ stars. In lieu of half stars and in comparison to other ‘celebrity’ memoirs; I have rounded up to 4/5 stars. ...more |
Notes are private!
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1
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Aug 07, 2022
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Aug 08, 2022
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Jul 25, 2022
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Hardcover
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| 0063056232
| 9780063056237
| 4.13
| 39,493
| Apr 12, 2022
| Sep 22, 2020
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really liked it
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* This review is for an ARC copy of “Hello Molly” won through Goodreads Giveaways. This copy may differ from the final published text* Three- time Emmy * This review is for an ARC copy of “Hello Molly” won through Goodreads Giveaways. This copy may differ from the final published text* Three- time Emmy nominee and “Saturday Night Live” alum Molly Shannon is often dubbed as one of the funniest female cast members on SNL. However, her comedy, acting skills and personal life go far beyond superficial laughter and reveal layers upon layers of depth. Molly Shannon uncovers her inner- self in the autobiographical memoir, “Hello Molly”. “Hello Molly” wins the award for, “Most Intense Hollywood Memoir Opener” with Shannon eschewing a comedic or fluffy unoriginal introduction and instead dives into the traumatic tale of her living through a horrific car accident at age four that took the lives of her mother, baby sister and cousin with her father behind the wheel. Shannon doesn’t use this angle to garner pity or to convince readers that she is a warrior who has overcome odds (although she is that descriptor); but rather to connect with humans – even strangers- on the rawest level. Shannon is immediately bonded to readers with mutual respect driven from both sides. “Hello Molly” is certainly a page-turner from the get-go. Shannon follows a chronological retelling of her life on a very personal level. Although “Hello Molly” is somewhat choppy in its narrative and almost ‘incomplete’ in some of its storytelling; it ‘works’ and is actually all the more readable using this stylistic format. Shannon does fall victim to recapping her life with too much blunt, objective perspective rather than becoming very emotive with readers. Perhaps this is simply how she is as a person or it may be a defense mechanism. Typically, this can cause a disconnect with memoir readers; but that is not the case with “Hello Molly”. Shannon still manages to come alive and open her inner psyche even without being a walking anxiety attack. Still, a little more sentimental recall would have fared “Hello Molly” well. Those readers hoping for the standard Hollywood memoir dripping in gossip-y name-dropping and sex, drugs and rock-n-roll; will be slightly disappointed with “Hello Molly”. On the contrary, readers seeking a more spiritual understanding of Molly Shannon will be quite pleased. Again, the text is complex and yet offers an entertaining flair. There are occasional moments when “Hello Molly” is obviously written by Sean Wilsey with some repetition and varying tones. Even taking this into consideration, “Hello Molly” is quite consistent and steady in both its pace and storytelling. Shannon supplements “Hello Molly” with quotes and discourses from her loved ones giving their hindsight perspective of her and/or life events. Although this is a character reference literary device; it feels out of place in a nonfiction memoir. Fortunately, this tactic isn’t overdone nor does it diminish the value of Shannon’s writing. “Hello Molly” naturally focuses a suitable chunk on Shannon’s “Saturday Night Live” days giving readers a behind-the-scenes insight into her personal and professional growth during this period; plus explaining how SNL is produced. “Hello Molly” will satisfy fans of the repertoire program and Shannon’s individual fan base. Following Shannon’s SNL career highlight, “Hello Molly” reverts back to a more personal and visceral unveiling of her life and the death of her father; bringing “Hello Molly” back full-circle to the opening of the text and thus providing readers with a well-rounded experience. This concludes “Hello Molly” on a strong and memorable note solidifying its accomplishments over that of other celebrity memoirs. Although not featured in the ARC copy: the final version of “Hello Molly” will include a section of photo plates from Shannon’s life. “Hello Molly” is an intense, passionate and compelling look at Shannon’s life that deviates from the traditional Hollywood memoir. Shannon doesn’t ever implore the “woe is me”- pity party so common with celebrities nor the egotistical, conceited entitlement that also runs rampant in this scene. Rather, Shannon truly connects with readers showing that she is also human and treats readers like friends. Even with some flaws, “Hello Molly” is a delightful memoir and recommended for all Molly Shannon fans whether in passing or die-hards. ...more |
Notes are private!
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1
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Apr 05, 2022
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Apr 08, 2022
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Nov 11, 2021
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Hardcover
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| 1984877925
| 9781984877925
| 1984877925
| 4.26
| 69,348
| Nov 09, 2021
| Nov 09, 2021
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it was amazing
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Everyone knows Will Smith: whether as a TV/film actor, musician/MC/rapper, writer, whatever multi-hyphenate you want to throw in there. Encouragingly,
Everyone knows Will Smith: whether as a TV/film actor, musician/MC/rapper, writer, whatever multi-hyphenate you want to throw in there. Encouragingly, what Smith isn’t known for is the typical Hollywood drama – sex, drugs, physical fights, run-ins with the law, etc. Smith is just an all-around talented and loveable dude. Right? Well, naturally there is more to Will Smith: much more. The side of Will Smith that he doesn’t overtly share with the public eye and quite honestly is a side that he tries to withhold even from HIMSELF. Smith finally opens up his true inner-self with the help of Mark Manson (author of, “The Subtle Art of Not Giving a F*ck”) in, “Will”. “Will” is not your run-of-the-mill Hollywood memoir in which a celebrity recounts his/her childhood, career, throws in dashes of “woe-is-me”-pity party complaining and boosts a self ego with fellow celebrity name-dropping. Rather, “Will” is a cathartic therapy session that combines elements of a biography, psychedelic stream of consciousness, self-journey revelations and personal diary. Yes, Smith DOES divulge his childhood background and his career fame – you will get the 411- but “Will” is so much more than a gossip column. Smith put blood, sweat and tears into the production of “Will” which he revealed in the limited YouTube-series, “Best Shape of My Life”. In fact, it is encouraged to watch the series before reading “Will” as it couples as a great prequel supplement to the text. Smith opens “Will” revealing the tapestry of his childhood which ultimately shaped the man that he is today along with the morals he holds true. Smith’s writing is vivid, colorful and grippingly-illustrative transporting the reader into the memories. However, the writing style utilized by Smith is somewhat choppy and apparent that he writes in a sort of ADHD-manner instead of a smooth consistent stream. This isn’t necessarily a harmful deterrent to the text but one that the reader simply needs to assimilate. Once that is done; “Will” becomes steady and accessible. Adding to this slightly disjointed nature; is the obvious interjections and content added by Mark Manson with a noticeable change in the toggle of writing between Smith and Manson. Perhaps this is something that would slip past most readers proving that it isn’t a jarring characteristic of “Will”. There is also some very obvious repetition in “Will” with Smith duplicating certain memories, phrases, or psychological meanderings but this seems more in the manner of his attempt at reminding himself; rather than in the realm of poor writing. Again, “Will” is more than a memoir and holds true to a therapy session and it needs to be viewed as such embracing the imperfections. Smith’s focus shifts to that of his career growth and future trajectory; highlighting comedic or noteworthy lessons he experienced in route. These give “Will” a strong value; but also offer an insight into who Smith is and how he got to this point in his life. Unfortunately, at this juncture, Smith decides to enthusiastically address himself as, “the biggest movie star on the planet” and similar ilk. Even if these less-than-humble bragging declarations can be proven valid with data and statistics; is this even necessary? Not to mention, feels very out of place in a piece that is overall ‘deep’, complex and not standard narcissistic Hollywood. It also seems Smith felt like he had to include such statements to keep his reputation and even he wasn’t comfortable. Or perhaps he was… who can really know but smith, himself. Either way, it is quite off-putting and weakens “Will”. Similarly, there are some cringe-worthy moments in “Will” (anyone paying attention to media coverage of Smith in late 2021 knows to what I am referring). Smith could have kept these confessions to himself as they are “too much” but his candor and willingness to be open with readers can, on the contrary, be applauded. On a positive note, even though Smith reflects on hardships and struggles he has endured throughout his five decades; he never throws a pity party and makes it clear that he realizes that others have had it much worse. This is very refreshing and starkly contrasts “Will” with other celebrity memoirs where entitled “stars” whine and moan about rich-people problems. The finalizing chapters of “Will” feel slightly empty and rushed in comparison to the former chapters but still conclude on a memorable note summarizing the text well. Readers truly feel they ride along with Smith and are familiarized with his inner-psyche until the very last drop. “Will” is supplemented with two sections of color and black-and-white-photo plates. Smith’s psychological and emotionally-drenched “Will” is not without its flaws but in relation to other Hollywood memoirs is a remarkable and moving piece that invigorates and demands respect. “Will” is recommended for all Will Smith fans and/or readers who enjoy celebrity memoirs. Note: I would give “Will” 4½ stars but in comparison to other celebrity memoirs and in lieu of half-stars; I have rounded up to 5. ...more |
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1
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Dec 17, 2021
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Dec 20, 2021
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Nov 11, 2021
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Hardcover
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| 1982168013
| 9781982168018
| 1982168013
| 4.21
| 81,061
| Oct 05, 2021
| Oct 05, 2021
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liked it
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I’m quite sure that regardless of your gender or sexual orientation; you have a crush on actor, producer, director, host, writer, foodie, bartender, f
I’m quite sure that regardless of your gender or sexual orientation; you have a crush on actor, producer, director, host, writer, foodie, bartender, father, brother, husband, etc etc; Stanley Tucci. I mean, look at him! JUST LOOK AT HIM! The man is a handsome devil, talented and witty to boot! Woo, is it getting hot in here, Goodreads? Jokes aside, Tucci is about as obsessed with food (ingredients, flavors, nuances, background history) as we are obsessed with his face. This is undeniable if you have watched an episode of Tucci’s CNN travel program, “The Search for Italy”. Tucci has already put his pen to two previous food-centric books and is back with a foodie memoir in, “Taste: My Life Through Food”. If you are searching for a typical Hollywood memoir focusing on a celebrity’s upbringing, profession in La La Land, gossip about sex, drugs, and rock n roll; and some ‘woe is me attitude’ coupled with, “I’m a better person, now”… Then “Taste” ISN’T for you. “Taste” doesn’t follow the ‘typical’ celebrity tell-all memoir and is instead a topical look at Tucci’s passion: food. Although Tucci DOES touch upon his childhood, celebrity-status and successes; it is through the lens of the food that graced his table, belly and made those events even more memorialized in his own mind. “Taste” is exactly what the title claims to be: nothing more and nothing less. “Taste” begins in a charming way setting the table (pun intended and achieved – haha, Tucci!) for a delightful read. Tucci jumps into his past as a child and hashes tales of his family and thus ultimately reveals how he became the man that he is today. In fact, he had such a lovely upbringing (I’m sure there are skeletons in the closet but “Taste” was simply not the time or place to reveal them); that readers with traumatic lives (such as myself) might be slightly triggered and envious. That being said; this simply means that Tucci is a wonderful storyteller and is able to bring a narrative visually to life. At this point, “Taste” is very emotive to the reader. Tucci’s writing is very accessible to the general audience and yet isn’t dummied down (let’s be real: many celebrities should stick to their day jobs and not attempt to write books). Tucci is intelligent and complex and yet infuses “Taste” with ample doses of comedy and humor sprinkled throughout to keep the reader smiling and enthused while maintaining that the material remains fresh. Even the occasional recipe is written in a way that encourages a chuckle. However, it is obvious that a ghostwriter was used in “Taste” even though one is not acknowledged. This is evident through the inconsistencies of the writing as “Taste” toggles back-and-forth with two different writing styles that is hard to ignore. You had some help, Tucci, didn’t you? It is okay to admit it! As “Taste” progresses, it begins to lose some steam and the boiling pot settles (another pun!). Tucci’s tales become quite repetitive and read exactly the same: “I ate here. I liked this dish. Then I ate here with this person. I liked or hated that.” Boring! There isn’t much excitement to be shared or a thesis to these experiences. It is also at this point that Tucci begins to name drop chefs, other foodies, and his celebrity friends which are consequentially tedious and too typical Hollywood. This type of behavior is seemingly ‘below’ Tucci and has little place in “Taste” therefore weakening the essence of the memoir. “Taste” could also benefit from a bit more emotion and insight as it sometimes feels too clinical and hyper-focused on the recap. It is clear that Tucci holds back in his attempt to focus on the food tales. This inhibits the reader from really diving into Tucci’s psyche and getting to know the real man- even if through food. It isn’t until the end of “Taste” when Tucci finally “opens up” and highlights his cancer diagnosis and the correlation with food, eating, and what he learned from his medical life trial. However, even this section still doesn’t shed as many layers as it should/could. Also absent from “Taste” is a section of photo color plates that seems to be the usual stylistic formula for celebrity memoirs. Although this isn’t a hugely tragic departure; it would have been nice. “Taste” does end in a memorable and ‘cute’ way rounding out the text and going full-circle to the beginning of the piece. This is done well on a writing level and with its attempt to connect with readers concluding “Taste” on a positive note. Tucci is a lovable man and my crush on his remains extant. However, “Taste”, although pleasant enough; is a bit too surface level and I expected a little bit more. “Taste” is a quick-read and suggested heartily for all Tucci fans but don’t expect to truly dive into the man’s diary and soul. ...more |
Notes are private!
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1
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Nov 08, 2021
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Nov 16, 2021
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Nov 08, 2021
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Hardcover
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| 1648960200
| 9781648960208
| 1648960200
| 4.40
| 2,601
| unknown
| Oct 26, 2021
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liked it
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It is believed that the music of an individual’s late teen years is the defining soundtrack of their lives with a powerful psychological impact. My la
It is believed that the music of an individual’s late teen years is the defining soundtrack of their lives with a powerful psychological impact. My late teens and early 20s were spent obsessively following pop-punk and ‘emo’ bands: I was always the first in line in order to garner first row and the last to leave at the conclusion of the night having hung out with the bands and getting all the photos (in the film camera days) and autographs my little heart desired. I even dated many of these musicians, am still friends with them 20 years later and went on to work in the music industry for several years. One of my favorite bands at the time was Something Corporate (or, ‘SoCo’ to fans); a piano-driven pop-punk band headed by Andrew McMahon (later of his solo project, Jack’s Mannequin and currently Andrew McMahon in the Wilderness). I hung out with Andrew many times and still possess the photos and autographs to prove it. However, how much did/do I really known about McMahon other than artistically and his bout with cancer? McMahon lets fans into his private psyche in his debut memoir, “Three Pianos”. McMahon stylizes “Three Pianos” chronologically split into three sections, or three pianos (hence the title) based on the correlating pianos at those periods of his life. McMahon goes as far as kicking off the text and each subsequent section with piano history blurbs while interspersing each chapter with overtures/epitaphs waxing poetic to an instrument. Perhaps this was a device meant to cultivate clever art and make “Three Pianos” stand out; but it is honestly odd and feels quite alienated from the memoir. It is certainly unnecessary and can be skimmed or ignored entirely without any loss of impact. That aside, McMahon begins his journey exploring his childhood and the traumas resulting from frequently moving, a drug addict father and his years as an overweight teen. Unarguably, “Three Pianos” is beautifully written with a poetic, visual, literary description that puts most other celebrity memoirs to shame and reminds why McMahon’s music was so glorious and pivotal to pop-punk fans. Yet, there is something ‘flat’ and devoid of emotion in McMahon’s storytelling. One can declare events to be traumatic while writing with an illustrative flourish; but it can still fail to come across and truly be emotive to readers. This weakens the content as it simply doesn’t seem as ‘bad’ as McMahon’s spoiled whining makes it seem. “Three Pianos” is interesting, yes, but interesting enough to merit a memoir? That is debatable. McMahon’s tone continues to sound immature as “Three Pianos” progresses and still holds back from genuinely letting readers into his psyche. This could be due to McMahon’s inability to open up and/or come to terms with his own life events; but then why compose a memoir? In fact, “Three Pianos” reads more like the routine therapist exercise urging patients to put pen to paper about their lives but without McMahon taking accountability. That is a central theme within “Three Pianos”: lack of accountability acknowledging his own hand in events. “Three Pianos” often suffers from repetition in the points McMahon attempts to convince; but also leaving out important parts leaving readers confused and with unanswered questions. The pace of “Three Pianos” is clunky, slow and thin on the majority (there are ‘good’ parts, naturally). McMahon’s “Three Pianos” noticeably improves when discussing the SoCo period of McMahon’s life and it is clear this is where he is most comfortable. However, fans hoping for gossip-y insight regarding his band will be disappointed (although it was neat learning what was happening in his life at the exact times I spent meeting McMahon). Much of the text focuses on McMahon’s excessive substance use; which like most other Hollywood memoirs: appears to be bragging rather than realizing the stupidity of his actions especially having an addict for a father. McMahon did a lot of drugs but is flippant about his behavior, mistreatment of others and instead humble-brags about his successes leaving a distasteful taste in readers’ mouths. The pivotal climax of “Three Pianos” is McMahon’s battle with cancer and his survival. The pace quickens and McMahon is finally raw, open and reveals his inner thoughts and fears. If only the entirety of “Three Pianos” was this strong. McMahon, however, returned to substance abuse after his cancer survival which bluntly: is dumb and taking life for granted. McMahon never admits to this poor behavior in “Three Pianos”. The concluding chapters return to the listless manner of the former sections and emerge stretched out as though McMahon was scraping for material and had to hit a certain word count. Despite this, the finality is strong ‘enough’; and conclusive. Unfortunately, “Three Pianos” strays from traditional memoir form and doesn’t include a section of photo plates/illustrations. “Three Pianos” is well-written in terms of language but is one dimensional, whiny and makes McMahon unlikable as a person (I still like him as an artist but ‘meh’ as Andrew). “Three Pianos” is only suggested for huge fans of McMahon or SoCo nostalgia but doesn’t offer much to standard readers of celebrity memoirs. Note: My rating of “Three Pianos” is 2 ½ stars. In lieu of half stars; I have rounded up to 3 ...more |
Notes are private!
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1
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Jun 23, 2022
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Jun 25, 2022
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Jul 09, 2021
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Hardcover
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| 0063060388
| 9780063060388
| 0063060388
| 4.30
| 24,124
| Jan 02, 2020
| Feb 16, 2021
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liked it
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The majority of American readers may be unfamiliar with the name Gabriel Matzneff and wonder why Europeans (particularly the French) spit at the menti
The majority of American readers may be unfamiliar with the name Gabriel Matzneff and wonder why Europeans (particularly the French) spit at the mentioning of this man. Allow me to enlighten you: Matzneff was a famous literary writer who was hailed as brilliant, complex and charismatic; rubbing elbows with politicians, artists and the crème de la crème of literary elite. Do you want to know what else he was? Matzneff was/is a sexual predator, pedophile, a narcissist and a demented man who preyed on adolescent boys and girls having had countless sexual, lewd and ‘romantic’ relationships with these underage youths. To make it even more shocking; Matzneff openly wrote and based the narratives of his books on these true stories filled with child pornography and crimes (let’s call it what it is). Literary circles shrugged their shoulders and possibly in relation to the sexual rebellion/freedom of 70s/80s –era France; turned the other cheek and thus allowed him to continue having sex with children. It wasn’t until now – with Matzneff being an octogenarian- that he is finally facing justice and criminal trials. As a child sex abuse survivor who was raped regularly by a step-father at the age of 8; I can’t begin to explain my hatred toward Matzneff. One of Matzneff’s victims was Vanessa Springora who was a tender-aged child of 13 when she met Matzneff at a dinner party she attended with her mother (Matzneff was 49 at the time). The two began a romantic and sexual relationship a year later. Springora finally faces her demons and shouts her abuse from the rooftops in the memoir, “Consent”. I want to make something VERY clear: I am reviewing “Consent” purely from a literary standpoint as I have all 560+ Goodreads reviews. I will not rate the text highly just on sensationalism alone or pity. What happened to Springora is God-awful but if you write about it – I’m going to review the WRITING. Naturally, “Consent” is not a prude piece and Springora immediately dives in with a raw, crisp and honest tone. Springora begins with a background introduction to both her childhood home life and personal psyche which helps readers better understand how this contributed to her falling victim to Matzneff who took advantage of these weaknesses and used it as his ‘in’. “Consent” quickly focuses on Springora’s relationship with Matzneff and explored the horrific ordeal. Although “Consent” benefits from not beating around the bush and acknowledging the main point of the memoir; the text is not fleshed out, the narrative is choppy and the writing is basic and elementary. Readers miss out on a complex and full reading experience and also don’t receive a full-insight into Springora’s emotions and reactions. It is very obvious Springora still suffers from PTSD and psychological burial that was her coping mechanism to survive (which is understandable). Perhaps a dictated piece with a ghostwriter would have worked better. Interestingly, Springora doesn’t ‘just play the victim’ and admits that she consented to Matzneff’s sexual persuasions and thought she loved him (this wasn’t a rape situations although of course legally and morally it IS rape, pedophilia and grooming). Springora attempts to voice her own confusion at having had feelings for such a vile man but again: the text is a bit abbreviated and cut off. Just as Springora starts to become psychologically or emotionally analytical; she moves on. “Consent” contains direct quotes and conversations that are questionable in hindsight. The language and phrases are in no way how a child speaks and are certainly the thoughts applied from Springora’s adult analysis. This isn’t necessarily a huge defect but Springora should have avoided trying to pass these off as quotes. Even with its mediocre writing, “Consent” naturally evokes an emotional response with a spectrum of anger, pity, sadness, repulsiveness, grief, etc; towards Springora, Matzneff and even Springora’s own mother whom let the relationship take place (her mother should have been jailed). It is this essence that encourages page-turning. Springora touches upon the acceptance by the literary world that was very aware of Matzneff’s pedophilia and lifestyle but didn’t do a damn thing about it. “Consent” would have been strengthened with a research and deeper breakdown of the topic; potentially adding texture to the piece. In the concluding chapters of “Consent”, Springora highlights the adulthood aftermath of the abuse and her healing process. This perspective of “Consent” is compelling but still sticks to the skinny stylistic structure of the entire text. The finality attempts to sum up Matzneff and other men like him; but Springora leaves much to be desired. “Consent” is a super quick (1-2 day, max) read that touches upon very disturbing imagery and events but the text is poorly written, thin and is not a well-executed memoir. I suspect much the praise is for the sensationalism and in support of Springora’s strength in giving her side of the story. As much as “Consent” may have been therapeutic for her to write; it is simply not as moving as one would expect. “Consent” is recommended for those interested in the topic or in feminism studies but isn’t memorable or anything to write home about (no pun intended). Note: I would give “Consent” 2 ½ stars but in lieu of half stars; rounded up to 3. ...more |
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1
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May 26, 2021
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May 27, 2021
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Mar 01, 2021
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Paperback
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| 0241003040
| 9780241003046
| 0241003040
| 4.42
| 1,462
| Sep 22, 2016
| Sep 10, 2016
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liked it
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I am extremely blessed, honored and grateful that I spent my days in research libraries (and printing presses) before I could walk or talk; almost dir
I am extremely blessed, honored and grateful that I spent my days in research libraries (and printing presses) before I could walk or talk; almost directly out of the womb. I’ve seen one of the original Tyndale translated Bibles, an original “Canterbury Tales” manuscript and multiple other manuscripts and illuminations. All that being said; I am not Christopher De Hamel. Who is Mr. Christopher De Hamel? De Hamel is one of the most sought-after paleographers (the study of manuscripts and their ownership) and one of the top leading experts in the field. Not many can hold a candle to De Hamel’s expertise. Despite his high status, De Hamel strives to reveal the world of paleography in, “Meetings with Remarkable Manuscripts: Twelve Journeys into the Medieval World”. If forced to compartmentalize “Meetings with Remarkable Manuscripts”; then one might simply call the text an art history piece. However, this would be downplaying the sheer scope of the De Hamel’s writing. “Meetings with Remarkable Manuscripts” is a combination medieval art history, memoir, exposé, technical study and research supplement. In “Meetings with Remarkable Manuscripts”, De Hamel presents twelve manuscripts throughout the course of 600 pages and breaks down various aspects of the artifacts: composition (paper, parchment, font, ink), creation process, history of ownership, use of the manuscript (purpose), his own journey to the research libraries to study the texts, etc. The twelve manuscripts are chosen based on distinct merits such as the actual fame surrounding the manuscript (for example, Jeanne of Navarre’s Book of Hours and an original “Canterbury Tales”), art quality, creation and ownership; to name a few qualifiers. This gives readers a variety of history lessons and a wide reach on the subject. “Meetings with Remarkable Manuscripts” is very ‘heavy’ reading and is certainly not light even for those readers well-versed in medieval history, art, and/or manuscripts. Not only does De Hamel cover a lot of ground regarding the histories of each manuscript and the literal modern-day physical appearances; but he also tends to go off on tangents. “Meetings with Remarkable Manuscripts” often drones on-and-on and feels like it was missing a credible editor. Many portions of “Meetings with Remarkable Manuscripts” are apt for skimming resulting in an inconsistent, uneven pace that is very up-and-down with strong opposite end spectrum hitters (meaning, the text is either very strong or weak with little middle ground). De Hamel loosens the text with occasional bouts of that good ole’ English sarcasm and sass, lightening the reader’s work load. Unfortunately, De Hamel sometimes takes this too far into a negative territory. Many readers and reviewers complain that De Hamel displays blatant sexism, misogyny and inequality of the genders; making derogatory, offhand and unnecessary comments regarding women ranging from one too many comments about women’s weight and looks to mentioning that, “…usually women sit in this part of the room” but not explaining context. Yet, all the men are credited as being helpful meanwhile women are generally described as being cranky. Not only does this have NO place in an academic piece; but it has no place ANYWHERE ! Quite bluntly, it is disgusting and takes away from De Hamel’s credibility. Related to this, De Hamel is often pompous and arrogant commenting on how research library staff supposedly treats him like gold and gives him VIP treatment or he continuously shuns practices like wearing gloves when handling manuscripts like the entitled man that he is. First off, this once again should not be included in such a text and second: NO ONE CARES!!!! De Hamel sounds like a rock band groupie bragging about how many band members he’s had sex with. On a more positive note, De Hamel is clearly very passionate and educated on the subject at hand and is amazing at the sleuthing that is the aim of paleography. There are illuminating moments (no pun intended) that exemplify why De Hamel is a leader in his career field. “Meetings with Remarkable Manuscripts” is glorious in presentation with glossy full-color pages overflowing with beautiful, detailed images from each of the twelve manuscripts. “Meetings with Remarkable Manuscripts” is certainly a feast for the eyes. Although not a huge defector, but noticeable, is De Hamel’s failure to translate all foreign language quotes and phrases. Why include these if most readers can’t understand them? Is this once again De Hamel’s ego assuming everyone knows multiple languages just because he does? Los Angeles resident readers such as myself; will find especial delight in the mentioning of the Getty and its illuminated manuscripts, the Huntington Research Library (my favorite place in LA!) and its copy of an original “Canterbury Tales”. De Hamel concludes “Meetings with Remarkable Manuscripts” with an emotional summary of the importance of the manuscripts plus a PSA about paleography and how (supposedly) everyone is encouraged to join the career field. Yes, I’m sure an arrogant, sexist male-dominated field is very ‘open’ (eye roll). “Meetings with Remarkable Manuscripts” is supplemented with Notes (with run-on sentences covering the entire page so don’t expect much clarity) and a bibliography list. “Meetings with Remarkable Manuscripts” is a beautiful visual piece on a marvelous topic. However, the text is clunky and inconsistent, De Hamel is conceited and demeaning to women and the text often divulges from the thesis. “Meetings with Remarkable Manuscripts” is suggested for readers with a deep interest in the subject but definitely not for novice readers or the ‘Average Joe’. ...more |
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Dec 22, 2020
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Dec 27, 2020
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Dec 22, 2020
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| 1101875704
| 9781101875704
| 1101875704
| 4.17
| 2,391
| Mar 30, 2021
| Mar 30, 2021
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liked it
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I’m willing to bet that unless you are a seasoned ornithologist; you have never heard of a ‘Striated Caracara’. “A Striated Cara-who?” you ask. Exactl
I’m willing to bet that unless you are a seasoned ornithologist; you have never heard of a ‘Striated Caracara’. “A Striated Cara-who?” you ask. Exactly, my point. Caracaras are what would be the love child between a crow, raven and falcon; calling the southern tip and islands of South America home (with the exception of some outliers). These charismatic birds of prey date back to dinosaur ancestors and skeletons have been found all over the Americas including the LaBrea Tar Pits in Los Angeles where I live. Observed by Charles Darwin and William Henry Hudson; these birds have fascinated humans for ages. More recently, caracaras have sparked the curiosity of nature and animal advocate Jonathan Meiburg. Meiburg was intrigued to study and observe these birds in their natural habitat and shares his experience in, “A Most Remarkable Creature: The Hidden Life and Epic Journey of the World’s Smartest Birds of Prey”. Let’s make something clear: Jonathan Meiburg is not a researcher, scientist, biologist, ornithologist or animal behavior psychologist by education or trade. He is not a professor in aviary bird fields. In fact, Meiburg is a writer and the lead singer of the band, Shearwater. But don’t let this fool you into thinking he isn’t a self-taught expert: he is precisely that. Meiburg has been fortunate enough to mingle with leading figures in the study of birds of prey (specifically caracaras); and has traveled worldwide fortifying his research thanks to grants and fellowships. This means that the tapestry of “A Most Remarkable Creature” is founded in solid science co-mingled with Meiburg’s magnetic personality and incredible writing chops. This fella can write, ladies and gents, and he does it with illustrative, detailed, poised prose that is peppered with comedic timing and accessible familiarity. Meiburg would make an excelled fiction novel author who would fortify his pages with a deep narrative. The issue, however, is a lack of clear aim with “A Most Remarkable Creature”. Although readers expect a heavy memoir packed with behavioral studies; “A Most Remarkable Creature” is less this and more of a choppy, disjointed, multi-threaded history report focusing on Charles Darwin and other notable figures who have interacted with birds of prey. Readers truly have to re-calibrate their expectations in order to take Meiburg’s work for what it is. The disappointing aspect is that this results in a piece that hardly discusses caracaras and little is gleaned from the material with the educational lesson being minimal. If an editor would have discarded the unnecessary content; “A Most Remarkable Creature” would be a very thin text. Related to this, both the narrative and pace are inconsistent with some sections reading more compellingly than others. Each chapter is somewhat standalone (with some repetitive information) further decimating a cohesive strand. Admittedly, though, the parts that are ‘good’ are seriously quite good. Meiburg’s strongest lesson concerns animal evolution, dinosaurs and the changes in continental shifts and human kind. These discussions are captivating and illuminate the subject matter in a precise manner that is easy-to-understand but informative. “A Most Remarkable Creature” works well as an as an introductory text to birds of prey and caracaras encouraging further research. In this context, Meiburg is quite successful in bringing attention to the topic. Meiburg’s passion and love for the subject also shines through adding an emotional element to “A Most Remarkable Creature”. Meiburg’s conclusion to “A Most Remarkable Creature” feels incomplete, unclear and doesn’t summarize the entirety of the piece making it void of a strong, memorable endnote. This is somewhat redeemed by a pictorial graph of caracara evolution, heavily annotated notes and an extensive bibliography. “A Most Remarkable Creature” is also supplemented with a section of full-color photo plates. “A Most Remarkable Creature” isn’t terrible and is well-written; but it is simply lacking continuity, meanders on tangents, is hardly about caracaras and isn’t memorable from either an educational or emotionally-emotive standpoint. “A Most Remarkable Creature” is a middle-ground average text recommended for those obsessed with birds of prey but the ‘Average Joe’ reader (or even light bird-lover) can skip this without missing much. ...more |
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May 17, 2021
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May 23, 2021
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Nov 13, 2020
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| 1250194717
| 9781250194718
| 1250194717
| 4.30
| 9,122
| Apr 21, 2020
| Apr 21, 2020
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Americans with stable roots in the United States cannot fathom the mental, emotional and financial struggles of refugees, immigrants and first-generat
Americans with stable roots in the United States cannot fathom the mental, emotional and financial struggles of refugees, immigrants and first-generation citizens. The language and cultural divides are just the tiny tip of the iceberg as one tries to assimilate to a new country and hopefully end up successful following the “American Dream”. I know this from personal experience being 100% Hungarian (from Budapest). Phuc Tran, born in Vietnam and having fled to the US as a toddler; can certainly relate. Tran reveals his life story, exploring this theme in, “Sigh, Gone: A Misfit’s Memoir of Great Books, Punk Rock, and the Fight to Fit In”. You are probably asking who the eff is Phuc Tran because I certainly asked the same question. Is he an actor? Musician? Athlete? Politician? Internet ‘star’? None of the above. Tran is a tattoo artist and teacher living in Portland, Maine. So, what merits a memoir? Anyone can write a memoir, they say; but Tran has a slightly different story to share having escaped Vietnam with his mother and father to start a new life in rural Pennsylvania (Tran’s brother was born once already in the US). “Sigh, Gone” focuses on Tran’s upbringing from childhood to high school graduation following a standardized chronological timeline. However, Tran changes up the typical stylistic scheme of pure memory/life recaps and heavily focuses on a psychological breakdown (or ‘attempt’ at this is a more apt description) regarding his own character, schooling, family, love for literature and his desire to be punk rock and skirt the norm while also fitting in. It is rather obvious that Tran is an accomplished writer. “Sigh, Gone” thrives on a lively pace and heartbeat that flows with a smooth narrative arc. The detail within creates solid and flourishing imagery that carries the reader. “Sigh, Gone” is not just a memoir but its prose is also entertaining and has the making of a great novel. Tran manages to find the ideal ration of being accessible to readers but with the edge a great creative writing professor would display. The execution of “Sigh, Gone” is top-notch. The issue is therefore with the content (the reverse of the usual problem of a solid message with poor execution). Tran’s stories are noteworthy enough to mention when compiling a memoir but they are still ‘small town’ discourses. Not only are they repetitive throughout the text but aren’t truly unique to Tran. We ALL have similar stories. “Sigh, Gone” becomes tedious and played out. These discrepancies extend to Tran’s tone laid heavily in “Sigh, Gone”. Tran recalls experiences with borderline abusive parents and multiple brushes with racism as his developing person tries to process these and grow. Obviously, these are things no child should have to endure (I had it way worse than Tran so I can relate). Tran’s downfall is a huge chip on his shoulder. Despite some of these terrible events; Tran had no appreciation for the struggles of anyone around him and came off as a whiny, spoiled, entitled kid who thought he was better than anyone and everyone. Tran was a straight-up punk and I don’t mean ‘cool’ punk rock. This is perhaps normal as an angst-filled adolescent but it is clear from the text that Tran still has his chip on his shoulder even as an adult; never taking any fault in his past behaviors and merely pointing fingers at others. This bias and lack of maturity makes him, bluntly, unlikable and weakens “Sigh, Gone”. Tran’s storytelling takes “Sigh, Gone” too far into the dialogue sector. There is absolutely no way that he would remember verbatim from conversations over 20 years ago. Plus, the elitist manner of speech he claims during his teen years is beyond unbelievable. No child/teen speaks like Tran does in “Sigh, Gone”. These are obviously the words of an adult in hindsight but then stop pretending they are direct quotes from your childhood/teen years. The final chapters of “Sigh, Gone” are rushed, forceful attempts at depth and nuances that are simply absent (AKA “trying too hard”) and fail to memorably evoke emotion. Tran’s writing tapers off and loses steam. “Sigh, Gone” ops to not include any photo plates which is a huge missed opportunity for readers to match faces with those figures within the memoir leaving an essence of in-completion. “Sigh, Gone” is a nearly perfect memoir in respect to the delicious language and narrative construction. Tran should pen a fictional novel – it would be a sensation. However, “Sigh, Gone” is also a “Whoa is me” – pity fest from a writer who is obviously still playing that dead record without having moved on. “Sigh, Gone” is best comparable to the journal from the first few days of therapy before any progress has been made and that sort of content has no place being published. Tran is typical narcissistic “me, me, me” in “Sigh, Gone” and in everyday life. In fact, I reached out to Phuc Tran on Instagram and revealed a little of my own background including my traumas in order to ensure him he was no alone. Tran DID eventually respond but without any compassion or empathy and turned the conversation into being about him and bypassed me completely leaving an even stronger sour taste in my mouth. “Sigh, Gone” is suggested for those readers interested in racially-charged events and those seeking a glimpse into the live of refugees. Otherwise, “Sigh, Gone” isn’t a crucial read (despite the hype feedback it is receiving). ...more |
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Nov 26, 2020
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Nov 30, 2020
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Oct 18, 2020
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| 194867744X
| 9781948677448
| 194867744X
| 4.33
| 2,697
| unknown
| Apr 14, 2020
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One of my biggest celebrity crushes (and has been for quite some time) is Mike Rowe, best known as the creator and host of Discovery Channel’s, “Dirty
One of my biggest celebrity crushes (and has been for quite some time) is Mike Rowe, best known as the creator and host of Discovery Channel’s, “Dirty Jobs”. Not only is Mike gorgeous with a heavenly speaking and singing voice (Mike is a professional operatic singer and does voice-over work pretty much on the daily); but he is also a man’s man, not afraid to get dirty on the job site nor in Congress advocating for the job force economy. He is simply dreamy! When I was 22 (I am 36 at the time of this review); I had the amazing pleasure of speaking to Mike on the phone where I proceeded to tell his then forty-something-year old self that I would “so do him”. That’s my Mike Rowe claim to fame. He was very flattered, by the way. Mike has countless fans and has brought his parents – mother, Peggy and father, John- into the Hollywood circle and they have gained their own little Rowe Family stardom. Peggy, known for her sass and sarcasm; penned a best-selling book about her mother (Mike’s grandmother) and is back with a collection of stories about John (Mike’s father) in, “About Your Father and Other Celebrities I Have Known: Ruminations and Revelations from a Desperate Mother to her Dirty Son”. “About Your Father” is an apt title as the text is literally a collection of experience-stories surrounding John Rowe: some from Mike’s childhood and others taking place in more recent years. Stylistically, Peggy Rowe pens the tales as though she is telling them directly to Mike and that consequentially, readers are overhearing the gossip. Each story is confined to a single chapter (rather short) but is well-written and visually detailed with snippets of humor and snark. Yes, these stories are charming and generally interesting; but they would be most comedic to Mike himself in a, “You had to be there”- sort of manner. “About Your Father” is ‘cute; but perhaps for an older target audience. Rowe’s tone is friendly and conversational demonstrating her ease of connecting with the Rowe Family fans. Rowe is neither snooty nor refrained and readers will find themselves wishing to be her friend (or in my case: her daughter-in-law). “About Your Father” is certainly inviting and infuses the essence of warmth and belonging to their family unit. “About Your Father” does well with offering a variety of diverse stories and thus, repetition is not an issue. Peggy Row is also known for her texts and emails to Mike (which he reads out-loud on social media) and therefore it is only natural that “About Your Father” includes some of these media communications, as well. Rowe concludes “About Your Father” with a quick word from John, himself (the foreword is written by Mike) and is also supplemented with a section of Rowe Family color plate photos (holy smokes, Mike’s 1989 headshot is sexy as hell!). “About Your Father” is a sweet, quick (1-2 day) read that evokes family charm but it isn’t anything entirely mind-blowing. “About Your Father” is recommended for Mike Rowe fans (and fans of his parents) or readers looking for a few laughs at or alongside a family’s quirks. ...more |
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Nov 23, 2020
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Nov 24, 2020
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Oct 18, 2020
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Hardcover
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| 0306873729
| 9780306873720
| 0306873729
| 4.23
| 757
| 2020
| May 05, 2020
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it was amazing
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I first noticed comedian Loni Love during her appearances/commentaries on the, “I Love the (insert 80s, 90s, etc)” programs on VH1 in the early 2000s.
I first noticed comedian Loni Love during her appearances/commentaries on the, “I Love the (insert 80s, 90s, etc)” programs on VH1 in the early 2000s. You know the ones – unless you are too young and just aged me. I thought Loni had charisma, a warm energy and was bluntly: hilarious as hell with her comedic timing. Nowadays, Loni is best known as one of the hosts on the Emmy-winning daytime talk show, “The Real” and as a co-host on the podcast, “Café Mocha”. Love, who spent much of her life not exposing her entire psyche to others; puts it all on the table in the her memoir, “I Tried to Change so you Don’t Have to: True Life Lessons”. Love prefaces her own text with a fair warning that although the life events that fill the ensuing pages are authentic; as a comedian, she has taken the liberty to exaggerate or joke for sensationalism, change names to protect the innocent and create composite characters/timelines. Respect is handed to Love as quite a few celebrities do this without giving it a second thought but never reveal the honest veil in their own memoirs. “I Tried to Change so you Don’t Have to” is stylized in a chronological format starting with Love’s early childhood but focuses more on important events rather than a run-of-the-mill autobiography (hence the ‘life lessons’). Love’s voice jumps from the pages immediately with her knack for storytelling and organic ability to connect with the reader. Love simply doesn’t even need to have to ‘try’ to be ‘real’ – readers feel like they are conversing with a best friend. Not to mention, if a reader has their first laugh-out-loud moment as soon as page four; then “I Tried to Change so you Don’t Have to” must be good. To drive this point further, Love doesn’t concentrate on being funny and her prose is intelligent with a delicious narrative: the comedic effects come naturally. This is a refreshing contrast to typical celebrity memoirs; allowing reader to bond with Love and learn her life story/background rather than just be entertained. Love successfully accomplishes this without an elitist attitude or talking down to readers. I live in Hollywood and Los Angeles has a very ‘Us versus Them’ –mentality with most celebrities thinking us regular folk are dirt. Loni Love is NOT one of those celebrities. “I Tried to Change so you Don’t Have to” is incredibly well-written, smooth and cohesive in its arc. Love knows the secret formula on how long she should dwell on a single topic and never bores the reader or goes off on tangents; but also knows the precise moment to move it along like a perfect fictional piece. “I Tried to Change so you Don’t Have to” is compelling and certainly a page-turner while being accessible with a friendly tone. Now, for all readers hooked on celebrity memoirs but sick to death of the sex, drugs and rehab stories paired with the name-dropping of fellow famous stars; topped off with a ‘woe is me’-attitude screaming, “Privilege!”… Then thank your deity of choice because you will NOT find that in Love’s text. I’m sure Love has plenty of juicy tea to spill; but she keeps it classy and knows that those stories do not validate who she is and neither do they have a place in her memoir. Well done, Loni Love! “I Tried to Change so you Don’t Have to” maintains its vibrant energy throughout; never feeling repetitive or dragged out just to fulfill a page count. Either Love has an amazing editor or she is a stupendous writer (probably a mixture of both). The only time Love addresses gossip is a quick blurb regarding the media debacle behind the hasty departure of a co-host on “The Real” is 2016 which Love was (falsely) pinned as the blame. Love mentions the subsequent dark period of fans lashing out and making death threats to her person. Even in this chapter, Love remains steadfast in her professional attitude and neither bad talks others or overly defends her perspective. Love has an admirable spirit that is genuine, raw, nuanced and filled with emotional maturity. “I Tried to Change so you Don’t Have to” closes with a brief look at how Love found love (no pun intended) with her current partner, James. Love did not have to share such personal information (I personally wanted more of this but I am admittedly nosy!); but her choice was positive as it is the perfect finality to the memoir and ended on a memorable note alongside a quick one-on-one pep talk with readers. “I Tried to Change so you Don’t Have to” is strong from beginning to end. Love supplements the text with a small section of black-and-white photo color plates. Loni Love is a well-rounded, amazing woman who truly worked her ass off and rose from the poverty of Detroit to get to where she is. Nothing was handed to her and “I Tried to Change so you Don’t Have to” addresses these rooted psychological effected and yet flows with compassion for others. “I Tried to Change so you Don’t Have to” is a quick (two-day) read that entertains and counsels readers in a loving manner. “I Tried to Change so you Don’t Have to” is recommended for all fans of Loni Love and/or celebrity memoirs. ...more |
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Oct 15, 2020
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Oct 16, 2020
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Oct 04, 2020
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Hardcover
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| 1250164680
| 9781250164681
| 1250164680
| 4.07
| 23,028
| Sep 29, 2020
| Sep 29, 2020
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it was amazing
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Even if you aren’t a fan of Mariah Carey’s music or a ‘lamb’ part of her ‘Lambily’; one can’t deny that Mariah Carey is a musical artist legend with i
Even if you aren’t a fan of Mariah Carey’s music or a ‘lamb’ part of her ‘Lambily’; one can’t deny that Mariah Carey is a musical artist legend with incomparable pipes – and she has the countless record sales, #1 hits and accolades to prove it. There is only ONE Mariah Carey. But how much do you know about the woman off the stage? You might associate Carey with her first husband Tommy Mottola or heard about her Total Request Live (TRL) ‘breakdown’. It is finally time for Carey to set the record straight (no pun intended), alongside award-winning writer Michaela Angela Davis, in her first-ever memoir, “The Meaning of Mariah Carey”. Here is the deal: I personally have a lot of respect for Mariah Carey as an artist and enjoy much of her (older) music but I admit that I envisioned a sort of ‘bimbo’ woman with a lack of depth and a memoir that would reflect that stereotype. I figured the text would be vapid, empty and typical of most celebrity memoirs that name drop other key-note figures, talk about drug use and take a self-pitying “woe is me” attitude. Feel free to kick my ass because both “The Meaning of Mariah Carey” and Carey herself are both worlds away from this description. “The Meaning of Mariah Carey” is one of the best memoirs EVER and in fact, one of the best books (coming from a reader whom has read many thousands and reviewed 545 books on Goodreads so far). Absolutely mind-blowing! Carey focuses much of “The Meaning of Mariah Carey” on her childhood and upbringing examining her broken home, experiences with racism (Carey has a white Irish mother and a black father) and her ambitious obsession with music. Calling the text an ‘examination’ is apt as Carey doesn’t just recap her life story but dives in with psychological, philosophical and spiritual lenses. Readers not only learn about Carey’s life and psyche; but also gain a personal re-evaluation of the meaning of struggle and how racism affects individuals. The text is a powerful combination of an emotional page-turner narrative and a beautifully crafted work of human interest art. Expanding on this, the four sections of “The Meaning of Mariah Carey” (mostly chronological but some back-and-forth jumping) is a visual-creation that bounces off the pages. One must remember that there is an award-winning co-writer involved so perhaps she did most of the writing but it doesn’t matter because Carey’s voice and internal meanderings are so clear that the reader is truly “let in”. “The Meaning of Mariah Carey” induces laughter, insight and tears (personally for me it is because Carey and I have some similar, relatable childhood struggles); while obviously being a source of healing for Carey, herself. It is evident that Carey has kept most things private and carried the load on her shoulders for much too long but has finally stripped down in “The Meaning of Mariah Carey”. It is noteworthy that even with all the tragedies Carey has endured; her spirit has remained strong and she worked her ass off to get to where she is today. Nothing was ever handed to her and readers gain a level of respect and new way of looking at Mariah Carey after reading “The Meaning of Mariah Carey”. Carey never begs for pity (although she does sort of blame others); she simply stresses the psychological harm that these events caused her countenance and how she tries to overcome them. This is a stark contrast from many celebrities who come off as spoiled brats in their memoirs and need to check their privilege at the door. “The Meaning of Mariah Carey” also avoids bragging about partying with other Hollywood stars and instead mostly mentions other artists she has worked with musically and the influence they had on Carey both creatively and as a person. This is quite refreshing. HOWEVER, Carey isn’t 100% humble as she basically calls herself a “good girl” but then seems to brags occasionally about smoking weed, her many accolades and awards and all the designer clothing and lavish items she owns. Really, Mariah? No one cares! These were not necessary and break the wonderful, deep bubble that is “The Meaning of Mariah Carey”. For those readers interested in Carey’s romantic life; “The Meaning of Mariah Carey” focuses in large on her marriage to ex- Sony mogul Tommy Mottola while also highlighting her relationships with Derek Jeter, Luis Miguel and Nick Cannon. Oddly, Carey never once mentions her engagement to billionaire James Packer and only briefly alludes to her current boyfriend, Bryan Tanaka. Carey has the right to pick and choose what she shares with readers but if I was Tanaka; my feelings would be hurt as Carey makes Tanaka sound platonic. The final chapters of “The Meaning of Mariah Carey” are on a whole other wavelength than the former parts of the text. These pages feel rushed, repetitious and somewhat contrived. It is obvious that Carey holds back in her retelling of events and doesn’t give all the details or the whole truth. There are many, “Hold up...” – moments as things just don’t add up. For example, Carey has come out to media sources that she was checked into rehab for bipolar disorder treatment but stomps her feet in the memoir that her family were the crazy ones that checked her in for no reason and she was a victim of their borderline criminal behavior. These chapters defile “The Meaning of Mariah Carey”. Luckily, Carey’s conclusion is a strong, emotional finality that reigns the reader back in and is an explosion of sentiment. Stylistically, there is a small flaw with the inclusion of song lyrics randomly in the text which may work better in the audio version of the book. “The Meaning of Mariah Carey” is also supplemented with a section of color photo plates. Even with the weaker latter chapters; “The Meaning of Mariah Carey” is a tour de force much like Mariah, herself and is a deep, nuanced memoir. “The Meaning of Mariah Carey” is of course recommended to all Carey fans but also for the generation growing up in the 80s/90s and for fans of celebrity memoirs. ...more |
Notes are private!
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1
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Nov 15, 2020
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Nov 20, 2020
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Oct 02, 2020
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Hardcover
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| 1984820303
| 9781984820303
| 1984820303
| 4.31
| 1,188
| Oct 06, 2020
| Oct 06, 2020
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it was amazing
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All of us ‘normal’ people take our bodies for granted. Rarely, if ever, do we consider the lives of those with disabilities and the difficulties they
All of us ‘normal’ people take our bodies for granted. Rarely, if ever, do we consider the lives of those with disabilities and the difficulties they face unless we have a direct loved one who fits this category. Schooling, family, friends, sex, career… Every aspect is affected by their disability. Riva Lehrer was born in the 50s with Spina Bifida and was given a short timeline to live. But live, she did. Now a well-known artist and professor; Lehrer lives her best life as the adage goes and shares it all with readers in, “Golem Girl: A Memoir”. When a text simultaneously makes you laugh out loud, frown AND takes your breath away before you even hit page 10; then you know that you have a masterpiece on your hands. This is precisely what Lehrer’s “Golem Girl” achieves. “Golem Girl” combines elements of a standard memoir, stream of consciousness piece, fictional literature, play and artist manifesto; before topping it off with an educational/informative flair. This, ladies and gents, is how a memoir should be done! Lehrer has set the bar high! Lehrer’s glossy-paged text (yes, these little details DO garner bonus points); follows Lehrer’s life from her diagnosis, through a special school for those with a disability, university and her early career in a chronological format (mostly – as there are some backtracking areas). Lehrer’s storytelling is accessible and easily relatable but never dummied down as the prose is richly nuanced and engrossing. Lehrer is incredibly intelligent but boiling over with creative confidence adding humor into the mix. “Golem Girl” is inviting while being poignantly magnetic. It is, simply put, the dictionary definition of “page turner”. Readers truly ‘feel’ every emotion while experiencing “Golem Girl” but never in a contrived or forced way. Lehrer is genuine and down-to-earth but also effortlessly instructs on life with a disability from menial to important tasks all the way to advocacy for the field. “Golem Girl” is incredibly memorable and raises philosophical and psychological topics that the reader can’t help but continue to consider even after completion of the text. Lehrer is an expert at entertaining and keeping the reader engaged. Her pen knows the secret formula of how much time should be spent on each tale or storytelling style before moving on and switching it up. “Golem Girl” is fresh, feisty and fervent with a strong heartbeat. Unlike most memoirs attempting to catch readers with raunchy, gossipy tales generally obsessing over sex and drugs or constantly playing the “woe is me” pity party card while point fingers at others; “Golem Girl” is instead a strong, independent declaration. Lehrer never begs for pity, complains or blames others for any mishaps and is one of the boldest women alive for it. She is truly a ‘good person’. Even when someone did her wrong; Lehrer never trash talks in “Golem Girl”. Perhaps this is an avoidance tactic (and hopefully Lehrer isn’t bottling emotions inside); but it works to make “Golem Girl” am epically standout memoir. “Golem Girl” is peppered throughout with Lehrer’s artwork, especially when accompanying a related tale. Speaking of art, the final quarter of “Golem Girl” follows Lehrer’s artistic journey during some of her projects/series/exhibitions and is consequentially more of an artist program than a memoir and is a noticeable departure from former portions of the book. Despite this, “Golem Girl” is not weakened in any way and maintains its alluring capacity to draw readers. Impressively, Lehrer is able to demonstrate her weaknesses and share her pains in a manner that shows she has accepted them and moved on. Either Lehrer has an incredible therapist or she, once again, is momentously strong (I would wager it is both). Lehrer concludes “Golem Girl” in a well-rounded way that makes the text feel ‘complete’. Also included, are two epilogues with one being a letter from Lehrer during May 2020 in the height of Covid-19 and lockdowns and the other showcasing Lehrer’s paintings with the subjects’ points of view included. Lehrer also offer reader resources concerning disabilities. “Golem Girl” is an unspeakably amazing memoir that is quite perfect in every way be it content, execution, prose, style, etc. Lehrer is an amazing soul and this is clear in her writing (don’t worry: she is very humble). “Golem Girl” is recommended for all readers who enjoy memoirs; especially about those overcoming hardships. ...more |
Notes are private!
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1
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Feb 10, 2021
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Feb 13, 2021
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Sep 23, 2020
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Hardcover
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| 1566632714
| 9781566632713
| 1566632714
| 4.28
| 5,670
| Jan 01, 1979
| Aug 24, 1999
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it was amazing
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Despite all of the documentation, imagery and first-hand accounts through the eyes of survivors; the atrocities of the Hell-on-earth known as the Holo
Despite all of the documentation, imagery and first-hand accounts through the eyes of survivors; the atrocities of the Hell-on-earth known as the Holocaust are still mind-bogglingly difficult to comprehend. It is almost unfathomable to imagine how humans could treat their fellow man in the ways the Nazis treated millions of people. As a Jewish descendent of the Holocaust (my grandfather survived Buchenwald concentration camp); I suffer from relational PTSD (yes, it is an actual, diagnosable thing) but I must know what my people endured. In fact EVERYONE must, Jewish or not. Filip Muller was also a survivor of the Holocaust and spent three years as a prisoner working the crematorium ovens at both Auschwitz and Birkenau having to basically aid in the deaths of his own people. Muller’s account is not only that of his own personal experience; but of the detailed inner-workings of Auschwitz in the riveting piece, “Eyewitness Auschwitz: Three Years in the Gas Chambers”. In the foreword to “Eyewitness Auschwitz”, Yenuda Bauer – Professor and Director, International Center for Holocaust Studies in Jerusalem- addresses readers stressing the importance of Muller’s writing as it is not just a survivor’s recap but exposes the inner echelon of Auschwitz’s crematorium, gas chambers and brutal murders. “Eyewitness Auschwitz” is rather a witness-stand affidavit than a simple memoir. Bauer also warns readers that “Eyewitness Auschwitz” is not a fictional tale, literary masterpiece or art offering but a forward portrait and insider peek. Well, Bauer is wrong. VERY wrong. “Eyewitness Auschwitz” is in fact a masterpiece. It is MORE than a masterpiece: it is a riveting, real, mind-blowing, heartbreakingly crucial report. Readers will not only experience Muller’s time as a concentration camp prisoner through his eyes but will feel it inside their own souls. Your heart beats faster, you ache, you cry, you are numbed… you are there. “Eyewitness Auschwitz” transports readers with poignant, direct language – nothing is held back- but with a beautiful literary, descriptive tongue that is as vivid as the noonday sun. Readers walk alongside Muller during his time at Auschwitz, as he escapes death and is sent to work in the crematorium, his ups and downs, his attempt at ending his own life, his will to fight alongside the Resistance and the eventual liberation of the camps. “Eyewitness Auschwitz” is not the typical Holocaust memoir as the perspective is fresh with Muller literally opening the doors to Aushwitz’s crematoriums and introducing readers to the Nazis who ran them. The detail is staggering and almost too much to handle, emotionally: readers will find themselves needing to catch their breath and walk away from the book, momentarily. Being that “Eyewitness Auschwitz” is not a standard memoir; this means that Muller opted against an overly sentimental perspective and therefore there is an absence of emotional analysis, full-psyche dive and over-romanticizing. Readers are left with some unanswered questions and the desiring to know Mueller’s personal thoughts and opinions. Yet, this doesn’t devalue the merit or strength of “Eyewitness Auschwitz” and Muller still managers to allow readers into his personal space. There are moments in Muller’s retelling that feel slightly contrived and almost “too perfect” and “at the right time and place”. However, who are we to question the events and perhaps Muller’s experience truly was that extraordinary. Equally, Bauer’s foreword states that some of Muller’s statistics have been since proven to be inaccurate and suggests to verify with more recent texts. It would be useful if newer publications/translations of “Eyewitness Auschwitz” had an epilogue noting Muller’s imprecise statements. Expanding on this, Muller never truly discourses on how he felt about escaping death but seeing and handling the corpses of his fellow Jews all day, everyday; coming off as callous and borderline sociopathological. However, this is probably Muller’s way of coping with the trauma and is part of his avoidance tactics/PTSD. Sadly, readers never learn why the Nazis spared Muller’s life even as the Red Army was kilometers away but obviously Muller didn’t know the reasoning, himself. Muller maintains an engaging and captivating, almost documentary-esque tone throughout “Eyewitness Auschwitz” knowing the exact amount of historical detail ratio to keep readers constantly experiencing emotive responses. The conclusion of “Eyewitness Auschwitz” doesn’t feel as consuming as the former portions leading up to the liberation climax. Muller lost some steam and was seemingly unsure how to wrap up his life story. Despite this weaker ending, “Eyewitness Auschwitz” manages to close in a loud-enough way. “Eyewitness Auschwitz” is supplemented with diagrams and descriptive keys of the Auschwitz camps and the crematoriums, adding to the overall value of the text. No amount of words or reviews can do “Eyewitness Auschwitz” proper justice. Muller’s experience/retelling is heart wrenching, critical and is a true insider’s look at the Nazi killing machine. “Eyewitness Auschwitz” is both educational and serves as an expose on the Holocaust but mankind, in general (on a psychological level). This super important account is suggested for EVERYONE; especially those interested in WWII and those readers of the Jewish faith. ...more |
Notes are private!
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1
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Jan 28, 2021
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Jan 30, 2021
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Jul 13, 2020
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| 4.51
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not set
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Aug 16, 2024
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| 4.43
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it was amazing
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Aug 23, 2024
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Jun 30, 2024
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| 3.86
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really liked it
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Dec 17, 2023
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Oct 24, 2023
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| 3.81
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it was amazing
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Nov 19, 2023
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Sep 19, 2023
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| 3.74
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liked it
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Jul 03, 2023
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May 22, 2023
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| 3.66
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liked it
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Jan 05, 2023
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Aug 01, 2022
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| 3.89
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really liked it
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Aug 08, 2022
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Jul 25, 2022
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| 4.13
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really liked it
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Apr 08, 2022
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Nov 11, 2021
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| 4.26
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it was amazing
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Dec 20, 2021
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Nov 11, 2021
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| 4.21
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liked it
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Nov 16, 2021
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Nov 08, 2021
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| 4.40
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liked it
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Jun 25, 2022
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Jul 09, 2021
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| 4.30
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liked it
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May 27, 2021
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Mar 01, 2021
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| 4.42
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liked it
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Dec 27, 2020
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Dec 22, 2020
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| 4.17
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liked it
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May 23, 2021
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Nov 13, 2020
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| 4.30
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liked it
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Nov 30, 2020
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Oct 18, 2020
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| 4.33
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liked it
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Nov 24, 2020
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Oct 18, 2020
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| 4.23
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it was amazing
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Oct 16, 2020
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Oct 04, 2020
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| 4.07
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it was amazing
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Nov 20, 2020
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Oct 02, 2020
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| 4.31
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it was amazing
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Feb 13, 2021
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Sep 23, 2020
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| 4.28
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it was amazing
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Jan 30, 2021
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Jul 13, 2020
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