Book Review: Howard Stern Comes Again (2019) Anthony F. Tasso, PhD Chair, Department of Psychology & Counseling Fairleigh Dickinson University
L
ong-time radio disc jockey and self-proclaimed “King of All Media,” Howard Stern, released his third book in May 2019. The book, Howard Stern Comes Again, published by Simon and Schuster, is a collection of what Stern believes are his most intimate and impressive on-air interviews, all of which occurred during the latter half of his four-decade career. These sit-downs with well-known actors, comedians, musicians, and TV personalities are nothing short of profound. The immensely interesting interviews offer insight into these public figures’ variety of talents, allowing the audience to learn details about them not known prior to their Stern Show appearance. These conversations are even better than advertised and absolutely make the book worth the price of admission. The depth and breadth with which Stern is able to assay the inner experiences of his interviewees undergird his reputation as an interviewer par excellence. While fascinating, one might ask, “Why is Howard Stern’s book being reviewed here, in a professional psychology journal?” After all, this is the radio guy (in)famous for instigating an incalculable number of celebrity feuds; for cajoling women to strip naked on his radio program; for creating a radio environment riddled with flatus, silliness, and sophomoric humor. Wasn’t it Howard who soared above the crowd at an MTV awards show as “Fartman,” complete with his buttocks on full display? In other words, is the NJ Psychologist an appropriate venue for the man who is the very definition of “shock jock?” A fair question, and one certainly expected to be asked by any socially conscious psychologist. My unequivocal opinion is yes, Howard Stern Comes Again most deservingly warrants a review here. While the interviews are deeply profound and akin to material that regularly emerges in Fall 2019
New York, NY: Simon & Schuster. our consulting rooms, this is not the most salient reason to discuss the book in a psychology journal. Instead, I contend Howard’s personal revelations that he peppers throughout the book, show exactly why psychologists should give it a read. Stern imbues the pages of Comes Again with descriptions of his developmental experiences and emotional struggles, delicately delving into how they fomented a simmering hostility that compromised his ability to connect with others. He pinpoints how his inner turmoil accounts for a considerable amount of his early personal and professional life. Crucially, Stern informs the reader that he no longer operates in this fashion. Splattered across the 500-plus pages is evidence of how Howard developed insight into this antipathetic means of relating to others and how he worked to make amends to those who suffered thanks to his acerbic tongue. How did he accomplish this? Psychoanalysis. Yes, wild-man Howard Stern found psychoanalysis and intensive psychotherapy as the vehicle to facilitate his authentic personal and professional change. At the start of Comes Again, Howard reports on a relatively recent cancer scare. He describes how this confrontation with mortality, an incident that resoundingly debunked his belief in his own omnipotence, functioned as a significant impetus for writing this book. Comes Again, Howard writes, serves as atonement for his more contentious, and (in his opinion) unflattering early interviews. Stern hopes the book will function as a solid springboard to rewriting his legacy. Oh, and he thought this writing project would be an easy way to make a fast dollar. While Howard realized early on that writing this book was quite difficult, the public’s reaction to Comes Again seems to indicate he is succeeding in revamping his image. Although Stern has hundreds of worthy interviews at his disposal, I believe the ones he selected are significant based on his interest in his subjects’ confrontation
of existential topics. In his pre-transcript comments, Howard weaves in themes of loss, trauma, empathy, admiration, and contrition; this commentary functions like a psychoanalytic dialogue by honing in on his hopes, regrets, feelings, fantasies, and associations vis-à-vis the life stories of his interviewees. For example, Stern identifies with Madonna’s iconoclastic past and empathizes with her early traumatic family loss, and notes how the impact of death on Stephen Colbert, Rosie O’Donnell, and Anderson Cooper evokes associations of his own mother’s experience of death and the subsequent effects it had on her mothering of Howard. He professes admiration for, and inspiration from, a broad range of talents (e.g., Jon Stewart, Chris Rock, Bill Murray, Jay-Z, Steve Martin, Lady Gaga, Jimmy Kimmel, David Letterman), describes how he relates to Jerry Seinfeld’s preoccupation with producing comedic material, and explains how he identifies with Vincent Gallo’s rage. Stern exhibits a sincere admiration for Joan Rivers’ unapologetic demeanor and an overall respect for Tracy Morgan. Perhaps one of his most prominent themes is that of regret and remorse. Howard expresses contrition for his prior hostility toward Rosie O’Donnell (with whom he now has a close friendship) as well as for his mockery of many others, even those he holds in high regard (e.g., Jon Stewart, David Letterman). Howard even reveals his posthumous guilt for his treatment of Robin Williams, whom he believes he unfairly attacked during his one and only interview with the actor and comedian a couple decades ago. Stern delves into his interviews with Ellen DeGeneres (which he considers his most emotional) and Conan O’Brien (which he believes may be his best ever). Setting aside the commentary Stern provides, the transcripts highlight his brilliance as an interviewer. However, in Comes Again Howard says he was not a good interviewer prior to his experience at the other end of the metaphorical micro25