A Queer and Pleasant Danger: A Memoir by Kate Bornstein

By Kate Bornstein

“I used to be born male and now I’ve received scientific and executive files that say I’m female—but I don’t name myself a girl, and i do know I’m no longer a guy. . . .”

Scientologist, husband and father, tranny, sailor, slave, playwright, dyke, gender outlaw—these are only a number of phrases that have outlined Kate Bornstein in the course of her awesome lifestyles. For the 1st time, all of it comes jointly in A Queer and delightful Danger, Kate Bornstein’s stunningly unique memoir that’s set to alter lives and enrapture readers.

Wickedly humorous and disarmingly sincere, this can be Bornstein’s such a lot intimate booklet but. With knowledge, wit, and an unwavering solution to inform the reality (“I must never inform lies”), Bornstein stocks her tale: from a pleasant Jewish boy starting to be up in New Jersey to a strappingly good-looking lieutenant of the Church of Scientology’s Sea flagship vessel, and later to Nineteen Nineties Seattle, the place she turns into a emerging famous person within the lesbian neighborhood. In among there are other halves and fans, heartbreak and triumph, bridges mended and damaged, and a trip of self-discovery that may mesmerize readers. 

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The music was rock and Nashville country, with a sprinkling of blues runs and English-ballad arpeggios. Thematically, the album was a unity. It explored the subworld pop was creating, an exotic milieu of velvet doors and scorpions, cool sex ("I saw you makin love with him,/ you forgot to close the garage door"), zany fashions ("it balances on your head just like a mattress balances on a bottle of wine,/ your brand-new leopard-skin pillbox hat"), strange potions ("it strangled up my mind,/now people just get uglier and I have no sense of time"), neurotic women ("she's like all the rest/ with her fog, her amphetamine, and her pearls").

His strength as a musician is his formidable eclecticism combined with a talent for choosing the right music to go with a given lyric. The result is a unity of sound and word that eludes most of his imitators. Dylan is effective only when exploiting this unity, which is why his free-verse album notes are interesting mainly as autobiography (or mythology) and why Tarantula is unlikely to be a masterpiece. When critics call Dylan a poet, they really mean a visionary. Because the poet is the paradigmatic seer, it is conventional to talk about the film poet, the jazz poet.

By Christmas the Stones were first in the pretensions sweepstakes—Their Satanic Majesties Request, with its 3-D cover, was 23 OUT OF THE VINYL DEEPS almost a parody of the whole art-rock phenomenon. How was Dylan going to top that? Everyone waited for a revolutionary masterpiece or an extravagant flop. What we got was John Wesley Harding in a plain gray jacket with a polaroid snapshot of Dylan and three Indians in the country. The first sound to greet the eager listener was the strumming of an acoustic guitar.

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