Wayne Koestenbaum returns with a zesty and hyper-literate collection of personal and critical essaysWayne Koestenbaum has been described as "e;an impossible lovechild from a late-night, drunken three-way between Joan Didion, Roland Barthes, and Susan Sontag"e; (Bidoun). In My 1980s and Other Essays, a collection of extravagant range and style, he rises to the challenge of that improbable description. My 1980s and Other Essays opens with a series of manifestos-or, perhaps more appropriately, a series of impassioned disclosures, intellectual and personal. It then proceeds to wrestle with a series of major cultural figures, the author's own lodestars and lodestones: literary (John Ashbery, Roberto Bolano, James Schuyler), artistic (Diane Arbus, Cindy Sherman, Andy Warhol), and simply iconic (Brigitte Bardot, Cary Grant, Lana Turner). And then there is the personal-the voice, the style, the flair-that is unquestionably Koestenbaum. It amounts to a kind of intellectual autobiography that culminates in a string of passionate calls to creativity; arguments in favor of detail and nuance, and attention; a defense of pleasure, hunger, and desire in culture and experience. Koestenbaum is perched on the cusp of being a true public intellectual-his venues are more mainstream than academic, his style is eye-catching, his prose unfailingly witty and passionate, his interests profoundly wide-ranging and popular. My 1980s should be the book that pushes Koestenbaum off that cusp and truly into the public eye.

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Wayne Koestenbaum returns with a zesty and hyper-literate collection of personal and critical essays on the 1980s, including essays on major cultural figures such as Andy Warhol and Brigitte Bardot.Wayne Koestenbaum has been described as "e;an impossible lovechild from a late-night, drunken three-way between Joan Didion, Roland Barthes, and Susan Sontag"e; (Bidoun). In My 1980s and Other Essays, a collection of extravagant range and style, he rises to the challenge of that improbable description.My 1980s and Other Essays opens with a series of manifestos-or, perhaps more appropriately, a series of impassioned disclosures, intellectual and personal. It then proceeds to wrestle with a series of major cultural figures, the author's own lodestars and lodestones: literary (John Ashbery, Roberto Bolano, James Schuyler), artistic (Diane Arbus, Cindy Sherman, Andy Warhol), and simply iconic (Brigitte Bardot, Cary Grant, Lana Turner). And then there is the personal-the voice, the style, the flair-that is unquestionably Koestenbaum. It amounts to a kind of intellectual autobiography that culminates in a string of passionate calls to creativity; arguments in favor of detail and nuance, and attention; a defense of pleasure, hunger, and desire in culture and experience.Koestenbaum is perched on the cusp of being a true public intellectual-his venues are more mainstream than academic, his style is eye-catching, his prose unfailingly witty and passionate, his interests profoundly wide-ranging and popular. My 1980s should be the book that pushes Koestenbaum off that cusp and truly into the public eye.