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He also defines stardom and even addresses the overuse of the word "superstar". This part is very informed and "airtight", as if he wished to make sure that no stone was left unturned and no one could claim he had forgotten this or that aspect or neglected this or that theorist. He certainly does not seem to have overlooked anyone, as the colossal bibliography, notes and index show he has also read every single Madonna book in print, needless to say, whether they be collections of academic essays or muckraking pseudo-biographies, not to mention thousands of press articles. The s where he defines the postmodern may be copied and used in courses as such, and I trust more than one professor will yield to the temptation.

He also defines stardom and even addresses the overuse of the word "superstar". This part is very informed and "airtight", as if he wished to make sure that no stone was left unturned and no one could claim he had forgotten this or seekking aspect or neglected this or that theorist.

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He certainly does not seem to have overlooked anyone, as the colossal bibliography, notes and index show he has also read every single Madonna book in print, needless to say, whether they be collections of academic essays or muckraking pseudo-biographies, not to mention thousands of press articles. The s where he defines the postmodern may be copied and used in courses as such, and I trust more than one professor will yield to the temptation.

To conclude, he offers his own definition "Yet Another Definition"which is rather convincing and at any rate suits the points he intends to make about Madonna. In the second part, which was given a somewhat facile title, "Desperately Seeking Stardom", Guilbert analyzes the way Madonna methodically re constructed herself; he throws Desperately seeking whore a few biographical elements, but no more than strictly necessary. Indeed you get the feeling that he was terrified anyone would "accuse" him of being a biographer.

This is a scholarly book, and the reader had better not forget it.

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He illustrates the devouring ambition of the diva, Desperaely the way she rewrites her past and plans her future. Then he moves on to the constant interaction between gay culture and Madonna's work, establishing striking rapprochements, notably with Judy Garland and The Wizard of Oz.

It features a hilarious passage about the birth of Lourdes, Madonna's first. The fourth part, entitled "Drag", is my favorite, for three reasons.

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First, I believe it is the strongest of the five; second, it is the part most concerned with cinema, my own field of research; and third, it deals with the similarities between Despefately and drag queens in a fascinating way. Obviously this is the part Guilbert took the most pleasure in writing, you can feel his enjoyment as you read on.

I am quite aware of the fact that this might not necessarily be seen as a compliment. You can also feel his admiration for larger-than-life figures such as Greta Garbo, Marlene Dietrich and Mae West, who have all inspired Madonna.

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The fifth part, "America's Mirror", is very sociological. It allows the author to examine the excesses and contradictions of the US, pointing out the way Madonna reflects them all in her work. The passage on the American Dream is particularly well-done.

The whole book is totally steeped in feminism, or to be more precise, in constructionist feminism. Guilbert is obviously a Michel Foucault and Judith Butler aficionado, though he also likes and uses people like Camille Paglia. He writes somewhere that Madonna is to pop what Butler is to academe, aeeking they both demonstrate throughout their work that gender is a pure social construct, and he certainly strives to prove it.

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Admittedly, I can't be really objective here: having taken his Gender Studies course and done my MA dissertation under his supervision, I was "traumatized" early on, and can never look at a woman in the street, let alone on MTV, without wondering how much of her "femininity" whatever that means, Guilbert would say is constructed, by her socio-cultural environment or by herself. The whole book is also totally steeped in the postmodern, and might fail to win over its adversaries an issue Guilbert addresses.

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Indeed it is a postmodern book, just as its subject is postmodern. Academics who think Jean Baudrillard is a clown might remain unimpressed. Moreover, the author never tries to conceal his admiration for Madonna; "[ ] I do not intend to hide my attraction to [this book's] subject", he confesses in the Preface. He also writes: "I myself am convinced of Madonna's superior intelligence.

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Amazingly, he manages to steer almost totally clear of jargon, which is unexpected in a postmodern theory book. But this again may very well be seen as a serious flaw. The back-cover blurb is not complemented by the usual indications of fields or domains whofe interest, so I'll suggest my own. It may also be read by literature students and professors who are keen on postmodern novels, as Guilbert shows the whorr are exactly the same.

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Of course, this book will undoubtedly be bought by thousands of English-speaking Madonna fans too, who are bound to be delighted, as it tells them it is quite acceptable to worship the icon, and details why. To conclude on a negative note, I wish to remark that Guilbert is often a bit excessive. He is positively vindictive when he answers the political criticism of some left-wing commentators who see Madonna as a monstrous backer of capitalism.

And he is not particularly subtle when he takes on the US religious right. A little more restraint might have been welcome.

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I was not surprised, however, since as it happens he writes very much the way he teaches.

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