Bunk: The Rise of Hoaxes, Humbug, Plagiarists, Phonies, Post-Facts, and Fake News by Kevin Young Summary

Bunk by Kevin Young examines America’s long history of deception, linking hoaxes to racial stereotypes and cultural myths. From P.T. Barnum’s exploitative exhibits to modern-day “fake news,” Young argues that fakery is ingrained in American identity, using race as a foundational lie. The book blends historical analysis with cultural criticism, exploring figures like James Frey and Rachel Dolezal to reveal how frauds manipulate truth for power.

This book is ideal for readers interested in cultural criticism, media literacy, and racial history. Historians, journalists, and students examining post-truth America will find it particularly relevant. Fans of meticulously researched, essay-style narratives that connect historical patterns to modern issues like misinformation will also appreciate Young’s insights.

Yes—Bunk received acclaim for its timely exploration of hoaxes in a “post-fact” era, earning a National Book Award longlist spot. Critics praise its depth, though some note its dense prose. It’s essential for understanding how American deception intertwines with race and power, offering fresh perspectives on figures from Barnum to Trump.

Young posits that racial stereotypes are central to American hoaxes, citing examples like Barnum’s display of Joice Heth (falsely claimed as George Washington’s 161-year-old nurse) and Rachel Dolezal’s racial identity theft. These cons exploit racial myths, reinforcing systemic distrust and othering. Race, Young argues, is itself a “hoax” perpetuated to maintain social hierarchies.

The book explores P.T. Barnum’s “humbug” spectacles, the fabricated memoir of James Frey, and the forged Native American identities of Grey Owl and Nasdijj. It also dissects Clark Rockefeller’s deadly imposture and the “What Is It?” exhibit, which falsely framed a Black man as a “missing link” in evolution.

Young traces today’s “fake news” to Barnum’s legacy, emphasizing how myths gain traction through spectacle and confirmation bias. He ties Donald Trump’s rhetoric to a tradition where lies thrive by appealing to preconceived notions, particularly racial stereotypes, eroding shared reality.

Some reviewers find the book overly long and stylistically uneven, mixing academic jargon with colloquial language. While praised for its ambition, critics note that Young’s aphoristic prose can obscure clarity. Nonetheless, its research and relevance outweigh these flaws.

Notable lines include Young’s assertion that “fakery is woven from stereotype and suspicion” and his description of race as “a fake thing pretending to be real.” These quotes underscore the book’s thesis that hoaxes exploit societal fractures to distort truth.

As a poet and critic, Young combines lyrical prose with rigorous scholarship. His focus on African American culture and history informs the book’s emphasis on race, while his editorial role at The New Yorker sharpens its journalistic critique of media-driven deception.

Young describes a culture where “truthiness” overrides facts, fostering cynicism and relativism. In this landscape, hoaxes flourish by appealing to emotion over evidence, with consequences for politics, art, and identity. The book warns that unchecked fakery threatens democratic discourse.

The book’s analysis of misinformation’s roots helps contextualize contemporary issues like AI-generated content, deepfakes, and election denialism. Young’s framework for understanding hoaxes as tools of power remains critical in navigating today’s media landscape.

Unlike his poetry collections, Bunk is a sprawling cultural history, though it retains his signature blend of wit and critique. It expands on themes of identity and myth explored in The Grey Album, offering a more direct engagement with politics and media.