Books
Geena Davis kicked ass onscreen long before she did in real life
Iconic actress revisits her ‘Polite’ life in new memoir
‘Dying of Politeness: A Memoir’
By Geena Davis
c.2022, Harper One
$28.99/288 pages
Years ago, a colleague videotaped me as I apologized for bumping into a desk. “I’m sorry,” I said to this inanimate object, “I hope I didn’t hurt your feelings.”
If you’re terminally polite, love kick-ass movies and worship bad-asses, you’ll lap up “Dying of Politeness: A Memoir” by badass, feminist, Academy-Award-winning actor and activist Geena Davis.
In the memoir (Davis’s debut as an author), Davis, 66, tells entertaining, sometimes moving, stories about her wide-ranging life: from her childhood (her parents were more polite than Emily Post ever dreamt of) to her acting career to finishing in 24th place in archery in the 2000 Summer Olympics trials.
Davis, a queer and feminist icon, has been in many movies. Her awards include an Oscar for best supporting actress for her portrayal of dog trainer Muriel Prichett in “The Accidental Tourist,” the adaptation of the Anne Tyler novel of the same name. Davis watched her boyfriend (Jeff Goldblum) turn into an insect in “The Fly” and played Barbara in the comedy-horror picture “Beetlejuice.”
Davis is loved by LGBTQ folk for her work in two 1990s classics.
In 1991, she was Thelma (Susan Sarandon was Louise) in “Thelma and Louise,” the classic film that made many women cheer and a lot of men squirm.
Just a year later, Davis was Dottie in the movie that’s still a fave of hetero and queer girls and women — “A League of Their Own.” Unlike the series with the same name recently released by Amazon Prime, the film has no explicitly queer characters. But with Madonna (Mae) and Rosie O’Donnell (Doris), the picture has a fab queer quotient.
You’d think, after watching Davis as Thelma and Dottie, that the Oscar-winning actor leapt from her mother’s womb as a badass.
But it’s clear from the get-go that it took more than a minute for Davis to emerge as her badass self. Davis could easily have titled not only the first chapter of her memoir, but the entire book, “My Journey to Badassery.”
“I kicked ass onscreen way before I did so in real life,” Davis writes.
But, “Dying of Politeness” is a more than apt title for the memoir. Her parents were loving, but polite to the point of absurdity.
They insisted that Davis say “no thank you, I’m not thirsty” “even if someone was handing me an already poured glass of ice water,” Davis writes.
One of Davis’s childhood memories was of the time her 99-year-old great-uncle drove her and her family to his house. The relative kept veering into the oncoming “if blessedly empty,” traffic lane, she recalls. Rather than saying anything, “my parents simply moved me to the spot between them on the back seat,” Davis writes, “thinking, I presume, that when the inevitable head-on collision occurred, I’d be killed a little less in the middle.”
The humor in this anecdote of a childhood brush with death is typical of the wit sprinkled throughout “Dying of Politeness.”
Davis, who grew up in Wareham, Mass., decided at age 3 that she wanted to be in the movies. After studying acting at Boston University, Davis left college and moved to New York.
Davis may have been as she writes, “a cripplingly polite New Englander,” but she wasn’t lacking in chutzpah.
In New York, Davis worked as a Lord and Taylor sales clerk. On a dare, she joined a group of mannequins in a café scene in the department store window. Soon, people lined up to watch her perform in street theater.
Davis got her first movie role in “Tootsie” after Sidney Pollack saw her pictures in the Victoria’s Secret catalogue. Dustin Hoffman, starring in the movie, mentored her. He told her not to sleep with her co-stars.
The memoir is more than entertaining. Davis writes of sexual harassment, her effort to create inclusion in Hollywood by founding the Geena Davis Institute on Gender in Media and how her dad cared for her mom when she had dementia.
It’s hard to think of a timelier book than “Dying of Politeness” in our current political climate. Badassery is needed now more than ever.
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Books
New book examines Trump cuts to LGBTQ healthcare
‘Aftershocks’ details impact of policy shifts on HIV response, broader public health
As LGBTQ and HIV advocates continue to grapple with the Trump administration’s attacks on healthcare, a new book offers a timely look at what happens when public health systems — and the democratic institutions that sustain them — are pushed to their limits.
The book, “Aftershocks: Trump 2.0, Public Health, and Our Better Angels,” was written by Dr. José M. Zuniga, president/CEO of Fast-Track Health. Zuniga is a globally recognized public health leader with more than three decades of experience advancing responses to HIV, communicable and non-communicable diseases, and the health impacts of climate change. He is also editor-in-chief of the Journal of Fast-Track Health.

The book covers the first year of the second Trump administration. It chronicles the impact of federal policy shifts and budget cuts on the HIV response and public health more broadly, including for LGBTQ communities. Drawing from policy analysis, frontline insight, and lived experience, the author reveal how decades of hard-won progress became vulnerable through Project 2025 and DOGE, but also a paralysis in the HIV and public health communities following the outcome of the 2024 elections.
“In other words, we were caught flat-footed when our opposition had a detailed plan to create chaos and disruption,” Zuniga says. “Thus, the book also offers Horizons 2028 as an antidote to Project 2025 as a starting point for a wide-ranging conversation about how we will build back better given the baseline pre-Trump 2.0 was already imperfect.”
Below is an excerpt from the book.
What Could Not Be Left Unsaid
Let me begin with a simple truth: I did not set out to write this book. Like many in the public health community, I set out daily to do the work of scaling prevention, expanding access to care, strengthening health systems, and ensuring that dignity, equity, and justice are operational realities. Writing, for me, has always been in service of action: policy briefs to shape decisions, editorials to provoke accountability, reports to document progress or failure, and books to synthesize experience into insight that can guide public health action. But Aftershocks is something different; it is not merely an analysis. Instead, it is a record of rupture, of response, and of what it means to continue when the ground beneath your work begins to shift.
This book was written because something changed, and that change came into sharp relief during the beginning days of the second Trump administration, including the erosion of norms, the weaponization of rhetoric, and the recalibration of governance itself. The change was not limited to policy reversals or budget cuts, though there were many. Moreover, it was not confined to rhetoric, though language played a central role. The change was structural and moral: a redefinition of how power understood its obligations to people, to evidence, and to truth itself. And for those of us working in public health, the effects were immediate and personal. We experienced a purposeful disruption of the public health ecosystem and a direct repudiation of the “health for all” principle that guides our work….
Writing this book was, unexpectedly, an act of catharsis. Not because it resolved anything, but because it created space to process what would otherwise have been overwhelming… Amid what many in the public health community experienced as both individual and collective trauma, documenting itself was stabilizing, allowing reflection without detachment and critique without disengagement. But catharsis alone is insufficient. This book is not an exercise in lament; it is also a response. If the period it chronicles is defined by disruption, then its purpose is to offer direction. Where Project 2025 represented a blueprint for ideological capture of institutions, language, and governance, this book offers a counterpoint: Horizons 2028…
Horizons 2028 is grounded in a simple premise: that the future of public health – and of democratic governance more broadly – depends on rebuilding systems that are resilient to political volatility. That means strengthening not only federal capacity, but subnational leadership. It means embedding community-led accountability into data systems. It means aligning health outcomes with social determinants and recognizing that equity is not an endpoint but a continuous process of adjustment and correction. It means treating global engagement not as optional, but as essential to national well-being. In other words, it is a roadmap not for returning to what was, but for building what is required…
I write as an Independent. Not in the sense of detachment, but in the sense of accountability to evidence, to outcomes, and to the people whose lives depend on both… Independence does not mean neutrality in the face of harm; it means refusing to filter reality through partisan allegiance. Importantly, it also means being guided by a consistent commitment to equity, dignity, and justice. These are not abstract values… They are tested in moments of crisis, when the gap between principle and practice becomes most apparent. They demand accountability not only for what is said, but for what is done – and for what is allowed to persist unchallenged. And they require the courage to name harm clearly, even when doing so is inconvenient or politically unwelcome.
That commitment shapes the analysis that follows, but it is also what makes the writing difficult. Because to document harm is to confront it. To trace its origins is to name decisions and their consequences. And to do so honestly is to risk being read as partisan in a landscape where truth itself has become politicized. But the alternative – silence, or false equivalence – is not acceptable. Not when the stakes are as high as they are. There is, however, a thread that runs through this book that resists cynicism, is not optimism, at least not in the conventional sense, but is something quieter and more durable: a belief that even in moments of rupture, there remains a capacity – within institutions, within communities, within individuals – to reorient toward something better.
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Books
Exploring Renée Richards’s life through lens of a trans author
Surprises await in new book about pioneering tennis star
‘Finding Renée Richards’
By Julie Kliegman
c.2026, HarperOne
$28.99/272 pages
Come on in, the water’s fine.
Wade into it up to your ankles, your calves, your waist, you’ll be OK. You’ll adjust to the waves that swirl around you so come on, dive in, it’s all good. As in the new book “Finding Renée Richards” by Julie Kliegman, that goes for swimming, and for controversy.

Assigned to do a story on books written by trans tennis great Renée Richards, Julie Kleigman read the books and became “transfixed by a woman who had fought so hard to simply live as who she had long known she was….”. Their editor had figured that, as a nonbinary and trans individual, Kleigman would have “something incisive to say…” in an article. Instead, once they met and began interviewing Richards, Kliegman was left frustrated.
Born in the late summer of 1934, Richard Henry Raskind seemed to have arrived with a tennis racket in his hand. His mother was a psychiatrist; his father was an orthopedic surgeon who hoped “Dick” would follow his footsteps but Raskind was drawn instead to ophthalmology and tennis. He was also irresistibly drawn to wearing women’s clothing.
His sister knew of this pull and Raskind eventually came out to both parents, but few others on the tennis circuit were aware. When Raskind visited his hometown of New York City, however, he enjoyed furtively going out in women’s clothing but he also tried to squash the desire; in the meantime, he fell in love, married, fathered a son, and eventually learned that it was possible to become the woman he knew he really was.
To continue playing tennis professionally was a bonus.
And right there were the disagreements Kleigman had with Richards.
Richards, “To this day… [makes] a point of describing herself as a woman, period,” says Kleigman, but she firmly acknowledged Richard, almost as a separate individual, insisting that Kleigman use “him/his” pronouns when describing her earlier life.
And as for tennis and trans women’s participation in the sport, Richards had something even more frustrating to say.
Take that as a fair warning: you might be equally surprised at what author Julie Kliegman uncovered in “Finding Renée Richards,” and you may be truly gobsmacked by reading opinions from other women about the topic of trans women in sports.
That’s the main, huge point of interest in this fascinating book; the other is Richards’s life as seen through the lens of a trans individual. Kleigman’s wrestling with the 90-year-old Richards’ firmly dug-in heels is, in itself, worth your time as a study of highly varying viewpoints. That Kleigman and Richards have both lived at least a part of trans history is somewhat of a key to understanding how this book unfolds, as Kleigman offers up Richards’s tale. Readers who are able to read between the lines will be riveted.
If you’re a sports fan and you have opinions, you must read this book – and that goes double if it’s tennis you love. Also check out “Finding Renée Richards” if you just want a raucously good and very fine read.
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Books
Bros + romance + fantasy = ‘Bromantasy.’
New book a romp full of humor, dragons, kings, and adventure
‘Bromantasy’
By Maire Roche
c.2026, G.P. Putnam’s Sons
$20/339 pages
“Danger” just happens to be your middle name.
Any fray, any tussle, anytime anybody needs help, they count on you to step in and save the day. You’re brave, smart and strategic, kind to old people, children, and small animals and, as in the new book “Bromantasy” by Maire Roche, dragons.

Of all the things there were to do – preserving food, keeping house for himself and his best friend Morningthall “Mo” Elmthorn, advanced skincare, and drinking at the local tavern down the road – the one thing Juniper O’Reilly couldn’t resist was a good brawl. It happened so often that Juniper honestly looked forward to it, though Mo wasn’t a fan.
Mo was more grown-up, calm, thoughtful, able, and Juniper loved him for it. He loved Mo, in fact, since they were little boys. He loved Mo in ways that they didn’t talk about, so they kept a wall between their bedrooms in their cottage.
Except for that one time.
They didn’t talk about that, either.
Instead, as they did often, on a warm fall night, Juniper and Mo went to the tavern, where mead was served and they could learn about the king’s weekly quests. There, Juniper could also find a good brawl, which is how he and Mo accidentally got into trouble: Juniper trounced one of the king’s men and was forced into a quest.
He didn’t want to fight dragons and he felt bad that Mo had been dragged along. He felt even worse leaving their farm, sleeping on the ground, wearing the same clothes every day, and not having enough skincare product along. A campfire added to the problem. A roving, lying prince, also in search of dragons, didn’t help. And though a quest was no place for a child, Juniper and Mo found a frightened little girl they had no choice but to protect.
A child with strange eyes, sharp teeth, and fire on her breath.
“And just like that, Juniper and Mo had a dragon.”
Bros + romance + fantasy = “Bromantasy.” It also could equal one of two other things: a romp full of humor, dragons, kings, princes, and adventure.
Or it could equal a whole lot of eye-rolling.
It’s a fact that this book is funny, in the way that a 1980s high school comedy movie is funny – meaning that it’s dippy, giddy, and very caricaturish but you’ll laugh quite often. The story contains everything you want in a fantasy romance (a “romantasy”), including human-like alternate species, a life-changing journey, and plenty of nudge-nudge-wink skirting around the attraction the two main characters have for one another. It’s a decent story, convoluted in just the right way. Purely, it’s an escape.
So why wouldn’t you want to read it? See above, and depending on your favorite reading genre. High-brow literature, this ain’t.
For the right reader, “Bromantasy” is a decent-enough vacation read, something not too taxing or hard on the brain. It’s for novel lovers, dragon hunters, king’s questers, princes, and romantics. For everyone else, this tale is just middling.
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