What is it about butts, exactly, that has made them such a source of fascination throughout history? In her debut book, Butts: A Backstory, reporter Heather Radke seeks to answer that question with wit, empathy and verve. The author spoke with BookPage about what she learned when she looked at butts head-on.
Congratulations on your first book! Did you always want to be an author? What’s been the most exciting aspect so far? Yes! I have wanted to be a writer since I was a little girl wearing bifocals, thumbing through the pages of Anne of Green Gables at Schuler Bookstore in Okemos, Michigan. It is incredibly difficult to write a book, and a true honor and thrill to have it published. For me, one of the most exciting parts was doing oral histories with different women about their bodies for the initial background research. I spoke with people who had very different bodies from mine and came from very different backgrounds, and it was always fascinating to hear how people feel about their bodies and what helped shape those feelings.
What made you decide that butts merited more than an interview or essay, but instead an entire book? Why were you moved to write about butts now? I started this book as an essay about the connection between the bustle and the life of Sarah Baartman—a Khoe woman from rural South Africa who was taken to London in 1810 and put on exhibit so people could pay to view her butt—but I quickly realized that the questions I was asking had answers that were much larger than a single essay could contain. In order to understand the symbolic significance of womens’ butts, I would need to explore many historical moments, as well as the science of the butt and the recent explosion of interest in mainstream pop culture. It was this recent interest in the butt that made me think it might be a potent topic to write about now. One of the questions I had was about why and how mainstream beauty standards change, and the butt is such a powerful example of what that looks like.
It’s clear that you put a great deal of time, effort and care into learning about a dizzying variety of people, places, eras, fashions, cultures and more for Butts. Will you share a bit about what it was like to manage such a massive amount of information? It was a lot of information! It felt like I was trying (and failing) to become an expert on everything, from Jane Fonda’s career to the gender politics of drag to the history of South Africa in the 18th century. I tried to read as widely and deeply as I could on each subject, talk to scholars in the various fields I was covering, and report on the people whose lives were touched by the topics in each chapter. In a lot of ways, it felt like what I used to do when I curated exhibits at the Jane Addams Hull-House Museum, and I used some of the organizational and research tools I learned when I did that work. But there is always a bit of a feeling of drinking from a firehose when taking on such an enormous topic. I’ll never be able to learn as much as I want!
Was there anything you had to leave out of Butts that you wish you could’ve included? The butt is a HUGE topic, because it’s as old as the human species and as varied. I wish I’d been able to research and include more about other parts of the world besides the United States and Europe, but I decided that it made sense to narrow the scope because of my own personal experience and the enormous influence the U.S. has had on beauty standards worldwide. I also did some research on art history, pornography and the midcentury pinup girl, each of which could have been its own chapter!
“The work is to try and interrogate our assumptions about bodies and ask where they came from, if they are true and why we cling to them.”
In your Introduction to Butts, you reflect on your childhood view that your mother’s butt was “a body part like any other, something to love because I loved the human it was part of. It was not a problem or a blessing. It was only a fact.” Of course, as your book amply illustrates, “butts are not so simple.” Do you think we will ever be able to back off of butts enough to view them as fact, to see them as a body part rather than a symbol? Honestly, no. We use bodies and body parts as symbols constantly—whether breasts, skin, hair or butts—and that feels very unlikely to change. I think the real problem isn’t actually using bodies symbolically but doing so unconsciously, or confusing the symbolism for reality. The work is to try and interrogate our assumptions about bodies and ask where they came from, if they are true and why we cling to them. Maybe then we can find new kinds of symbolism, or new ways to make meaning that aren’t so hurtful to so many people.
Considering race is vitally important when examining attitudes toward butts and the women they belong to. From Sarah Baartman and the racist so-called “scientific inquiry” that was used to exploit her, to the more modern-day obsession with Jennifer Lopez’s posterior—there is a seemingly endless mix of fascination, envy, desire and anger projected onto the butts of women of color. When you think about that aspect of your work in Butts, what has stayed with you the most? As a white woman, I was very interested in when and why white women become interested in the butts of women of color. Of course, there isn’t a single answer to that question, but something that twerk instructor Kelechi Okafor said really stuck with me. She talked about how many white women she encountered as a dance instructor were uncomfortable with their own sexuality and turned to twerk as a way to express themselves sexually. Obsession with butts is almost always adjacent to angst about sex and race. The more we can talk about that openly, the more likely it is that fewer people will be objectified and harmed by that obsession.
“Because they are funny, and easy not to take seriously, there is a lot of subtext that goes unexamined in butt-related cultural products.”
“Baby Got Back” is a song that everyone knows, and your deep dive into its origins offers lots of interesting context in terms of how the song and its creator, Sir Mix-A-Lot, were received in 1992—and the ways in which its lyrics and video still affect our perceptions of butts today. But while the song and video are in many ways a celebration, you also note that one professor called it “empowered misogyny.” Can you share a bit more about that dichotomy? I think that “Baby Got Back” is a very complicated text, largely because it is so popular. I believe that Sir Mix-A-Lot meant for it to be a celebration of a beauty standard that, at the time, was not mainstream. But when I watch it now, my conversation with Kyra Gaunt, the scholar who called the song “empowered misogyny,” is the one I think about the most. She talked about how it was part of a larger trend in hip-hop of objectifying women, but that because it’s about butts and therefore seems like a joke, it’s easier to give it a pass. It is one of the things that is truly fascinating about butts: Because they are funny, and easy not to take seriously, there is a lot of subtext that goes unexamined in butt-related cultural products.
You note that when you were around 10 or 11, suddenly exercise was “no longer a game. It was a necessity.” Aerobics were a rite of passage for women in the 1980s, especially “Buns of Steel” and Jane Fonda videos. Is there any form of exercise today that occupies the same sort of butt-obsessed space in our culture? There were lots of classes in the mid-2010s that promised to help create butts that looked like Kim Karashian or Beyonce. Those classes, which likely used very similar exercises as “Buns of Steel,” promised to create a big butt, whereas “Buns of Steel” was much more invested in a small, tight butt. It’s in these promises that you can really see the ways that trends around body shape ebb and flow.
“The things that we don’t take seriously, the things we laugh about or feel are too small to notice, are often things that hold tremendous meaning.”
What were you most hoping to convey or accomplish with Butts? What’s been the most surprising reaction to the book so far? I’ve definitely gotten the sense that some people are surprised that a book like this exists. When I posted the cover on social media, there were a few retweets where people said, essentially, “Is this some kind of joke?” But in a way, I suppose that is part of the bigger point I’m trying to make with this book: The things that we don’t take seriously, the things we laugh about or feel are too small to notice, are often things that hold tremendous meaning. Butts contain multitudes, and it can be both meaningful and fun to discover just what those multitudes are.
What’s next for you? Great question! I just had a baby, so my hope is that a little more sleep lies in my immediate future. Beyond that, I’m working on a couple of projects that take up some of the themes of Butts—gender, identity, the importance of the small—and explore them from very different angles.
In her fascinating and frank debut, Butts: A Backstory, journalist Heather Radke ponders why this body part is so polarizing, the collective cultural obsession so enduring.
As the author notes in her introduction, “Butts are a bellwether. The feelings we have about butts are almost always indicative of other feelings—feelings about race, gender, and sex.” Radke explores the societal forces that underlie such feelings as she guides readers on an impressively well-researched tour of butts throughout history, beginning with a functional analysis (hominids and horses take center stage) and ultimately alighting in the present (twerking, social media and celebrity butts).
In between, Radke considers the persistent, pernicious attitude toward women’s bodies as things to critique. She shares the story of Sarah Baartman, a South African woman of the Khoe tribe who was effectively enslaved and exhibited in England and France in the early 1800s under the guise of scientific inquiry. From there, Radke segues into eugenics and its emphasis on big butts as supposed markers of sexual deviance.
These so-called scientific endeavors have had a ripple effect, Radke explains, influencing media and pop culture, creeping into beauty standards and body image. She offers examples of butt-obsessed media with positive posterior impacts, too; a deep dive into the 1992 hip-hop sensation “Baby Got Back” by Sir Mix-A-Lot is entertaining and edifying, and Beyoncé’s 2001 hit “Bootylicious” gets a shoutout as well.
Radke also touches on fitness sensations (“Buns of Steel”) and fashion trends (Victorian bustles), as well as her complicated feelings about her own “generous” butt. While she, like so many others, has felt shame about her body shape, Radke also believes that “a close examination of the parts of ourselves that can feel unbearable . . . can be transformative.” Certainly, Butts can usher readers onto this more positive path, thanks to its top-notch reportage, assured and respectful voice and invitation to butt-centric contemplation.
In Butts: A Backstory, journalist Heather Radke ponders why this body part is so polarizing, the collective cultural obsession so enduring.
A few years after British actor Tom Felton hung up his Slytherin robes for good, he hit rock bottom. It was the first step toward reclaiming his identity, as it prompted him to ask how and when he left the wisecracking kid from Surrey behind and instead became dependent on the numbing effect of alcohol. In Beyond the Wand: The Magic and Mayhem of Growing Up a Wizard, Felton looks back in order to uncover the path forward as he candidly details the surreal experience of being a prominent part of a pop culture juggernaut.
Felton’s first major on-screen role was in 1997’s The Borrowers, an adaptation of the classic children’s book. This opened the door to other promising opportunities, notably playing The Boy Who Lived’s archenemy: sneering, peroxide-blond Draco Malfoy. At the time of his audition, 12-year-old Felton had never read a Harry Potter novel and couldn’t quite understand the breathless excitement that the books inspired.
Felton spent nearly a decade immersed in the world of witches and wizards, where he became accustomed to a singular life on set. The final stretch of filming was bittersweet, and when it was through, he hoped to transition into a career brimming with star-studded blockbusters and high-end craft services. Instead, Felton’s move to Los Angeles made him feel like a rudderless ship. “I missed having an ordinary conversation with an authentic human, who didn’t know who I was, and didn’t care,” he writes.
Felton’s memoir isn’t a shameless tell-all or a cautionary tale about the ills of fame. He frequently expresses gratitude and praises the skills and professionalism of older actors who were in the Harry Potter films, such as Jason Isaacs and Alan Rickman. He has no problem poking fun at himself, but his moments of self-reflection are compassionate. Beyond the Wand may focus on Felton’s Harry Potter days, but it’s so much more than fan service. With introspection and charm, Felton’s narrative captures the growing pains of adolescence.
In his memoir, Draco Malfoy actor Tom Felton captures the growing pains of adolescence with introspection and charm.
Nothing could have prepared Melanie Jayne Chisholm—aka Sporty Spice—for the loneliness, isolation and debilitating episodes of imposter syndrome that accompanied the extreme highs (and lows) of fame. In The Sporty One: My Life as a Spice Girl, the singer, songwriter and tracksuit-wearing Brit carefully unpacks her nonlinear journey toward self-acceptance while pinned under the glare of the spotlight.
The Spice Girls were a pop culture supernova at the turn of the new millennium. Contrary to the narrative wrought by the misogynistic media, the group was not the brainchild of industry executives. After answering a magazine advertisement, Victoria Adams (Posh), Geri Halliwell (Ginger), Melanie Brown (Scary), Michelle Stephenson and Chisholm came together to form the band Touch. When Stephenson proved to be a weak link, Emma Bunton (Baby) was recruited. It would take a pivotal name change and the reclamation of creative autonomy from their early male managers, but the Spice Girls would go on to smash records and, even more importantly, disrupt the cultural and musical landscape.
This type of rise at a young age leaves a few scars, and Chisholm isn’t afraid to recount her personal battles. The pressures of being a ubiquitous pop star coupled with her innate perfectionism brought on depression and severe anxiety. At one point after the Spice Girls had gone on hiatus and Chisholm had embarked on a successful solo career, she was nearly agoraphobic and plagued by incessant panic attacks. And despite her public image of health and fitness, the singer was secretly contending with disordered eating, which eventually led to anorexia and binge eating disorders. In 2009, Chisholm gave birth to her daughter, Scarlet. Motherhood wasn’t a cure-all for her mental health issues, but this new caregiver role allowed her to appreciate the extraordinary power of her body and all she has put it through.
Chisholm’s narrative voice is warm, funny and unabashedly real. Fans will feel as though they’ve been invited to an enlightening soul session with a close friend. Hard truths about patriarchal oppression and the fickle nature of celebrity are examined with sympathy and understanding. The Sporty One is more than the memoir of a pop star; it’s an emotional revelation.
Melanie Chisholm, aka Sporty Spice, unpacks her nonlinear journey toward self-acceptance while pinned under the glare of the spotlight.
Stefan Fatsis is a familiar figure to many as a regular commentator on National Public Radio’s All Things Considered. In 1997, when he decided to write about the world of competitive Scrabble, he had no idea where studying the phenomenon would take him. He recounts the story of his experience in Word Freak, a wonderfully engaging narrative about the insular and somewhat oddball world of people who compete at the popular board game.
Many of the characters who play the game cheerfully admit they’re social misfits. They provide rich material for Fatsis. Perhaps because of his prior experience with the game, the author discovered a kinship with their obsession with words. Soon Fatsis was not just covering Scrabble, he was competing himself—and taking the competition seriously.
Fatsis blends a reporter’s eye for detail with a frank admiration of the eccentric players’ abilities, whatever their social shortcomings. He’s particularly awestruck by the attendees of an international tournament, many of whom barely speak English but know thousands of words.
As Fatsis gradually improves at the game, awakening to a new obsession and becoming a top-ranked player, the reader delights in his accomplishment. His thoroughly researched book also details the history of Scrabble—a tale that sometimes plays out like a corporate melodrama. Like Monopoly, another favorite American diversion, Scrabble was developed during the Depression as a means of passing the time. But word of mouth developed into perennial popularity, and the game went from a family-owned business to the property of a giant toy conglomerate.
In Word Freak, Fatsis also offers a few practical tips for living room players and competitors, making it clear that memorizing obscure word lists is the key. He indicates "phonies" or unacceptable words and even provides an appendix of terms he uses in the text that are not acceptable in Scrabble. A wonderfully readable work, Word Freak is a winner—both as a portrait of a subculture and as a journal of a seasoned competitor.
Gregory Harris is a writer and editor living in Indianapolis.
Stefan Fatsis is a familiar figure to many as a regular commentator on National Public Radio's All Things Considered. In 1997, when he decided to write about the world of competitive Scrabble, he had no idea where studying the phenomenon would take him. He recounts…
Books a mother can love There’s no better way to celebrate Mother’s Day than with a gift book that immortalizes the maternal role. Joyce Ostin’s Hollywood Moms, a volume of radiant photographs, does just that. In Ostin’s touching tribute to womanhood, some of Tinseltown’s biggest names shed their glamorous facades, and the results are simple, stripped-down pictures that reveal the buoyancy, serenity and joy inherent in the mother-daughter relationship.
Much in the limelight, these mothers have daughters named Coco and Collette, Stella and Chelsea, girls with above-average genes who are, in the end, just regular girls. More than 50 black and white photos feature the likes of dynamic duo Goldie Hawn and Kate Hudson; Madonna and a saucer-eyed Lourdes Leon; Melanie Griffith and Stella Banderas (inheritor of Antonio’s brooding stare). Anecdotes and poems from the moms themselves and Carrie Fisher’s introduction to the book offer fresh insights into the mother-daughter connection. With an intuitive eye, Ostin has captured this classic bond, revealing the reality behind the fantasy the private sides of these very public women. Ostin, a two-time breast cancer survivor, will donate all of the proceeds from Hollywood Moms to cancer research.
“The family is one of nature’s masterpieces,” wrote George Santayana, and his statement is proven true by a volume of stunning pictures called Family: A Celebration of Humanity. Photographers from around the world some of them Pulitzer Prize winners have captured the unit in its many configurations (a family, after all, can be as small as two or as large as two dozen). There are brothers and sisters, fathers and sons, children and pets; there are families in poverty and families who flourish. Spanning the globe, the book touches down in Russia, Mexico, South Africa, Australia and the United States, and the multiplicity of cultures makes for some wonderful visual juxtapositions. Artful, honest and at times, graphic (the photo of a baby, fresh from the womb, its umbilical unwound like a telephone cord, is not a sight for the weak-eyed), Family, the first volume in a series by M.I.L.K. Publishing, Ltd., offers timeless images of humanity at its best. M.I.L.K., an acronym for Moments of Intimacy, Laughter and Kinship, hopes to develop a collection of photographs showcasing diversity in family, friendship and love, and will publish two more books in September.
Two new titles celebrate one of the world’s most famous moms, that icon of family and fashion, Jacqueline Kennedy Onassis. The woman who founded a modern-day dynasty and helped set style standards throughout the ’60s and ’70s is the inspiration behind Jay Mulvaney’s Jackie: The Clothes of Camelot. Filled with fabulous, Camelot-era photographs, Mulvaney’s book features Jackie’s dreamy dresses, frocks like confections from Oleg Cassini and other designers done in sugary pink, pastel blue and vivid tangerine, clothes fit for a queen or a First Lady. Those classic suits boxy, modest and perfectly chic are included, too. With over 300 photos and sections on Jackie’s fashion influences, her casual wear and her style during the post-Camelot years, this volume presents a well-rounded fashion portrait of one of the White House’s most regal matriarchs. Mulvaney, author of Kennedy Weddings: A Family Album, contributes lucid captions that set the context for the costumes. Dominick Dunne provides the book’s introduction.
Jackie Style by Pamela Clarke Keogh is part biography, part beauty book. Covering the former First Lady’s childhood in New York, her years at Vassar, her time in the White House and her work as an editor at Doubleday, this volume offers a behind-the-scenes look at Jackie’s life while providing advice on how to make her style your style. Jackie’s makeup and fashion ideas are included, along with never-before-seen photos and sketches, and exclusive interviews. Keogh, author of the bestselling Audrey Style, has created a loving tribute, which has an introduction by fashion designer Valentino.
Both Jackie titles are being published to coincide with a May retrospective of Kennedy’s White House wardrobe at the Metropolitan Museum of Art in New York, an exhibit that will commemorate the 40th anniversary of Camelot.
Books a mother can love There's no better way to celebrate Mother's Day than with a gift book that immortalizes the maternal role. Joyce Ostin's Hollywood Moms, a volume of radiant photographs, does just that. In Ostin's touching tribute to womanhood, some of Tinseltown's biggest…
It’s possible that being buried alive is not something you worry about. You may allot more of your fear time to public speaking or flying or impotence. However, it is safe to predict that after you read Jan Bondeson’s new book the thought of being buried alive will become your primal fear. This reviewer has become quite claustrophobic, and you couldn’t possibly force him into a cave, or even a tanning bed.
Buried Alive is a curious work. Jan Bondeson is a physician specializing in rheumatology and internal medicine at a research institution in London. He is also a historian of the quirky byways of medicine and related fields. His thoughtful and entertaining previous book was A Cabinet of Medical Curiosities: A Compendium of the Odd, the Bizarre, and the Unexpected. The subtitle applies equally well to the new book.
Apparently Bondeson has read everything in the world. For Buried Alive he draws upon history, folklore, movies, fiction, poetry, drama. In earlier times, before the precise equipment of our own day, there was considerable controversy over how to determine if someone was, like the Wicked Witch of the East, “really most sincerely dead.” (Well, except when death was obvious in a case of beheading, for example.) Generations were horrified by tales of exhumations revealing the supposedly dead frozen in the act of clawing at the coffin lid. Bondeson recounts the mortuaries that actually advertised alarms in their vaults to alert them to any new arrival who turned out to be still alive.
The anecdotes here are priceless. Hans Christian Andersen lived in terror of awaking inside a coffin and actually carried with him a card that proclaimed I AM NOT REALLY DEAD. Alfred Nobel insisted that special measures be taken to ensure that he really had succumbed to the final antagonist. As always, the arts best reveal our nightmares. The supreme fictional take on this bizarre idea is Edgar Allan Poe’s “The Premature Burial.” It has inspired a number of films, including one by Roger Corman. Wilkie Collins, of The Moonstone fame, wrote a hilariously campy buried-alive saga. Bondeson even finds a buried-alive story by Cornell Woolrich, the man who wrote Rear Window. On this theme, the horrific Dutch film Spoorlos was remade in the U.S. with, naturally, a tacked-on happy ending. Bondeson wraps up Buried Alive with the minimal evidence that many people were actually buried alive and looks at whether it happens nowadays. And he includes a perfect anonymous limerick: There was a young man at Nunhead, Who awoke in a coffin of lead; “It is cosy enough,” He remarked in a huff, “But I wasn’t aware I was dead.”
It's possible that being buried alive is not something you worry about. You may allot more of your fear time to public speaking or flying or impotence. However, it is safe to predict that after you read Jan Bondeson's new book the thought of being…
Think you’re worth a million? Can you guess the identity of this tubular sensation? He’s been a TV personality for nearly four decades. In the 1960s he played second banana to talk-show host Joey Bishop. In the 1970s he hosted two game shows, The Neighbors and Almost Anything Goes, both of which fizzled. Then came a career boost in the late ’80s via a network morning show. More recently, he’s been in the prime-time spotlight, giving away a million dollars to lucky winners. Yes, yes, you’ve got it! It’s Regis Philbin! Come on down! Since last August, when Who Wants to Be a Millionaire debuted on ABC, the avuncular 68-year-old Philbin has become one of TV’s ubiquitous figures. After all, he’s doing double duty. Teamed with the giggly, gregarious mother of Cody and Cassidy on ABC’s Live! With Regis and Kathie Lee, he helps millions of Americans begin their day. Then he’s on again at night, hosting the surprise hit game show, Who Wants to Be a Millionaire? Airing three nights a week to an audience that averages 28.5 million viewers, the quiz show an Americanized version of a top British series has been credited with giving commercial TV a much-needed shot in the ratings. No wonder there’s a tie-in book. Who Wants to Be a Millionaire? The Official Book from the Hit TV Show purports to deliver Everything You Need to Practice, Play, and Win! In fact, there are several dozen pages devoted to how the show operates: how to become a contestant, what a contestant goes through ( The Details and the Drama ), as well as how the show came to be. By and large, though, this is a book of trivia a series of questions (and answers) that allows readers to test their skills.
Some of the questions are unquestionably goofy. (Which of the following is found inside an Eskimo Pie? A. Whale blubber B. Ice cream C. Caribou meat D. An Eskimo). Some are historical, others pop-cultural. If the book’s topics are eclectic, so are those on the TV show which has become so popular it’s sent TV critics and pundits alike on a quest to figure out why, exactly, there’s so much interest in a game show. Here’s one theory, as espoused by U.S. News ∧ World Report: ÔMillionaire’ is the one show on network television that shows ordinary Americans for better or for worse. Executive producer Michael P. Davies says the appeal lies in the show’s democratic approach to its contestants: We treat everybody the same. The show broadly reflects society. And of course, there is Philbin. As John Carpenter, the show’s first (and much publicized) millionaire put it, I can’t imagine the show without him. He brings his own unique style and just the right amount of drama and humor. He doesn’t try to intimidate you. Reege’s nice-guy demeanor has made him the host with the most a position he candidly relishes. After all, he admits, I’ve never had this kind of attention before. Pat H. Broeske is a producer of the feature film remake of Champagne for Caesar, a spoof about a quiz show.
Think you're worth a million? Can you guess the identity of this tubular sensation? He's been a TV personality for nearly four decades. In the 1960s he played second banana to talk-show host Joey Bishop. In the 1970s he hosted two game shows, The Neighbors…
In its own way, Malcolm Gladwell’s The Tipping Point exemplifies its subtitle: How Little Things Can Make a Big Difference. Gladwell, a staff writer for The New Yorker, tells the stories of seemingly minor incidents that build to matters of great consequence. The tipping point, Gladwell writes, is the moment at which an idea catches on and spreads. He uses the metaphor of epidemics to describe these events, posing the questions, Why is it that some ideas or behaviors or products start epidemics and others don’t? And what can we do to deliberately start and control positive epidemics of our own?
Part of the effectiveness of The Tipping Point lies in the intriguing illustrations Gladwell uses to explain his ideas. Chapters focus on such epidemic catalysts as Paul Revere, cigarettes, the Columbia House gold record advertising campaign, "Sesame Street," Rebecca Wells’ Divine Secrets of the Ya-Ya Sisterhood, subway shooter Bernie Goetz, teen suicide in Micronesia and Airwalk sneakers.
These examples serve to illustrate Gladwell’s three components of the Tipping Point, which he calls The Law of the Few, the Stickiness Factor, and the Power of Context. As diverse as these topics are, Gladwell manages both to maintain the specificity of each example and apply it usefully to his Tipping Point theories. The Bernie Goetz case, for example, illustrates what Gladwell calls the Power of Context, which argues that the psychological or sociological backgrounds of Goetz and the youths on the train have less to do with what happened than their environment. Gladwell argues that the eventually historically significant altercation had everything to do with the message sent by the graffiti on the walls and the disorder at the turnstiles. The Power of Context says you don’t have to solve the big problems to solve crime. Instead, cleaning up the subway system can help.
The Tipping Point alternates between daunting and heartening in what it asks its readers to do and understand; as Gladwell writes, What must underlie successful epidemics is a bedrock belief that change is possible. That faith is often elusive. After reading Gladwell’s book, however, and comprehending exactly what Paul Revere’s ride and the Columbia House advertising campaign have in common, the world around us seems eminently ripe for tipping for the better.
Eliza McGraw teaches English at Vanderbilt University.
In its own way, Malcolm Gladwell's The Tipping Point exemplifies its subtitle: How Little Things Can Make a Big Difference. Gladwell, a staff writer for The New Yorker, tells the stories of seemingly minor incidents that build to matters of great consequence. The tipping point,…
Viva Las Vegas! Las Vegas. The name inspires a hybrid image, half Disneyland and half Sodom and Gomorrah. It is the fastest-growing city in the U.S., its population having boomed from 400,000 in 1980 to more than a million now. As four new books attest, Vegas is also a magnet for the imagination. Inevitably the authors focus on the four-mile stretch of casinos called the Strip, but along the way they address many other aspects of the Industry as Las Vegas residents refer to gambling including entertainment, prostitution, organized crime, and law enforcement.
Let’s move from the narrowest focus to the broadest. Pete Earley, the investigative reporter who wrote The Hot House about Leavenworth, and also published exposes about the Aldrich Ames and John Walker spy cases, has a new book, Super Casino: Inside the New Las Vegas (Bantam, $26.95, 0553095021). He explores everything from legendary Las Vegas promoters such as Bugsy Siegel and Howard Hughes to the astonishing success of recent family-oriented entertainment facilities.
Several of Earley’s stories demonstrate the hypnotic pull the city exerts on residents who try to escape. One security guard tells the story of his experiences during the tragic fire that raged through the MGM Grand Hotel in 1980. Afterward, traumatized, he and his wife moved to Florida to flee the memories, but finally they returned because they missed the twenty-four-hour excitement. Andres Martinez covers some of the same territory from a completely different point of view in 24/7: Living It Up and Doubling Down in the New Las Vegas. Martinez gave himself a month to lose the $50,000 his publisher had given him to chronicle a gambling spree. Along the way he wrote a vivid, you-are-there account of his adventures, one day per chapter. Like Paul Theroux, Martinez seems part fascinated anthropologist and part happy-go-lucky adventurer. It’s an appealing combination, and makes for a personal take on an impersonal town. Unlike the other Vegas books described here, 24/7 is also extremely amusing.
Inevitably, the most varied of these volumes is an anthology, The Real Las Vegas: Life Beyond the Strip (Oxford, $30, 0195130707), edited by journalism professor David Littlejohn. Fourteen vivid chapters by as many writers explore such topics as gambling, organized crime, the real estate boom, and locals who decry their home town’s reputation. For example, the chapter Law and Disorder details the countless scam artists who trail the nouveau riche foolish enough to flaunt their wealth. Skin City follows a limo driver who caters to whorehouse clients and acts as surrogate uncle to the prostitutes themselves; then it explores the strip joints of the city.
Broader still in scope is David Thomson’s new book, In Nevada, which bears the ambitious subtitle The Land, the People, God, and Chance (Alfred A. Knopf, $27.50, 0679454861). You’ll recognize Thomson’s name from his several previous books, including Rosebud, his biography of Orson Welles, and Beneath Mulholland, a lively tour of Hollywood history. From early nuclear testing to recent theological battles, he prowls his self-assigned turf with scrupulous attention. He refutes those who consider Vegas hell on Earth: Hell is rebuke, torture, and eternal punishment for those who have sinned. Las Vegas may be founded on a paradox, or a trick, but the idea that you will play and strive and then lose is not hellish. For many of us, it’s a profound and absorbing metaphor for life. Thomson mentions that, because he normally writes about film, people couldn’t understand why he was writing about Nevada. If I sometimes seem to concentrate on film, why, really, it’s just a way into life, and words, and wondering what you can believe. For Thomson, as for the authors of these four books, that is precisely what Las Vegas is a way into many other things that seem to converge in the near-mythical city that rises from the desert like a neon mirage.
Michael Sims is the author of Darwin’s Orchestra (Henry Holt).
Viva Las Vegas! Las Vegas. The name inspires a hybrid image, half Disneyland and half Sodom and Gomorrah. It is the fastest-growing city in the U.S., its population having boomed from 400,000 in 1980 to more than a million now. As four new books attest,…
Viva Las Vegas! Las Vegas. The name inspires a hybrid image, half Disneyland and half Sodom and Gomorrah. It is the fastest-growing city in the U.
S., its population having boomed from 400,000 in 1980 to more than a million now. As four new books attest, Vegas is also a magnet for the imagination. Inevitably the authors focus on the four-mile stretch of casinos called the Strip, but along the way they address many other aspects of the Industry as Las Vegas residents refer to gambling including entertainment, prostitution, organized crime, and law enforcement.
Let’s move from the narrowest focus to the broadest. Pete Earley, the investigative reporter who wrote The Hot House about Leavenworth, and also published exposes about the Aldrich Ames and John Walker spy cases, has a new book, Super Casino: Inside the New Las Vegas. He explores everything from legendary Las Vegas promoters such as Bugsy Siegel and Howard Hughes to the astonishing success of recent family-oriented entertainment facilities.
Several of Earley’s stories demonstrate the hypnotic pull the city exerts on residents who try to escape. One security guard tells the story of his experiences during the tragic fire that raged through the MGM Grand Hotel in 1980. Afterward, traumatized, he and his wife moved to Florida to flee the memories, but finally they returned because they missed the twenty-four-hour excitement. Andres Martinez covers some of the same territory from a completely different point of view in 24/7: Living It Up and Doubling Down in the New Las Vegas (Villard, $25, 0375501819). Martinez gave himself a month to lose the $50,000 his publisher had given him to chronicle a gambling spree. Along the way he wrote a vivid, you-are-there account of his adventures, one day per chapter. Like Paul Theroux, Martinez seems part fascinated anthropologist and part happy-go-lucky adventurer. It’s an appealing combination, and makes for a personal take on an impersonal town. Unlike the other Vegas books described here, 24/7 is also extremely amusing.
Inevitably, the most varied of these volumes is an anthology, The Real Las Vegas: Life Beyond the Strip (Oxford, $30, 0195130707), edited by journalism professor David Littlejohn. Fourteen vivid chapters by as many writers explore such topics as gambling, organized crime, the real estate boom, and locals who decry their home town’s reputation. For example, the chapter Law and Disorder details the countless scam artists who trail the nouveau riche foolish enough to flaunt their wealth. Skin City follows a limo driver who caters to whorehouse clients and acts as surrogate uncle to the prostitutes themselves; then it explores the strip joints of the city.
Broader still in scope is David Thomson’s new book, In Nevada, which bears the ambitious subtitle The Land, the People, God, and Chance (Alfred A. Knopf, $27.50, 0679454861). You’ll recognize Thomson’s name from his several previous books, including Rosebud, his biography of Orson Welles, and Beneath Mulholland, a lively tour of Hollywood history. From early nuclear testing to recent theological battles, he prowls his self-assigned turf with scrupulous attention. He refutes those who consider Vegas hell on Earth: Hell is rebuke, torture, and eternal punishment for those who have sinned. Las Vegas may be founded on a paradox, or a trick, but the idea that you will play and strive and then lose is not hellish. For many of us, it’s a profound and absorbing metaphor for life. Thomson mentions that, because he normally writes about film, people couldn’t understand why he was writing about Nevada. If I sometimes seem to concentrate on film, why, really, it’s just a way into life, and words, and wondering what you can believe. For Thomson, as for the authors of these four books, that is precisely what Las Vegas is a way into many other things that seem to converge in the near-mythical city that rises from the desert like a neon mirage.
Michael Sims is the author of Darwin’s Orchestra (Henry Holt).
Viva Las Vegas! Las Vegas. The name inspires a hybrid image, half Disneyland and half Sodom and Gomorrah. It is the fastest-growing city in the U.
S., its population having boomed from 400,000 in 1980 to more than a million now. As…
You may have thought the species extinct since their habitat has vanished, but author Kathryn Leigh Scott is here to tell you otherwise. The Bunny Years: The Surprising Inside Story of the Playboy Clubs: The Women Who Worked as Bunnies, and Where They Are Now is a veritable Vindication of the Rights of Bunnies, and a tribute to the women who lived the tail. Scott, a former Bunny herself, remembers fondly her years in the Playboy Clubs and offers profiles of over 200 women who worked there during its 25-year history. The list will surprise you. Former bunnies include a Congressional candidate, a midwife, a multi-millionaire businesswoman, a renowned doctor, and celebrities not to mention women’s rights activist Gloria Steinem. The author could well have subtitled the book "Gloria Steinem Was Wrong." Scott, exceedingly proud of her role as Bunny, takes Steinem, evidently the Paul Revere of Bunnydom, to task for Steinem’s scathing 1963 expose A Bunny’s Tale. Despite the author’s oh-so-earnest prose, this book is just plain lots of fun a romp through an era that, thankfully, has gone by. And the photographs of Bunnies draped over a very groovy-looking Hef, of Bunnies on snow mobiles, in the swingin’ Playboy jet, poolside are priceless.
The words "club hopping" now have a whole new meaning. Reviewed by Katherine H. Wyrick.
You may have thought the species extinct since their habitat has vanished, but author Kathryn Leigh Scott is here to tell you otherwise. The Bunny Years: The Surprising Inside Story of the Playboy Clubs: The Women Who Worked as Bunnies, and Where They Are Now…
For Star Trek fans Attention all Trekkies and those who know and love them: The Star Trek Encyclopedia: A Reference Guide to the Future has landed. If you have a Star Trek fan on your list, this is the book. This edition, compiled by some enterprising folk, boasts 128 new pages to reflect the ever- expanding Star Trek universe and includes almost as many entries and illustrations as the Milky Way has stars. It is the most comprehensive Star Trek reference available, a mothership of a guide that no hard-core fan will want to be without.
For Star Trek fans Attention all Trekkies and those who know and love them: The Star Trek Encyclopedia: A Reference Guide to the Future has landed. If you have a Star Trek fan on your list, this is the book. This edition, compiled by some…
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Maria Ressa’s book is a political history of the Philippines and an intimate memoir, but it’s also a warning to democracies everywhere: Authoritarianism is a threat to us all.
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In the author’s latest graphic novel, Oasis, two children seek comfort in a discarded AI robot, while their mother labors in a factory in order to give them a better life.
