Few memoirists pick a title designed to be thrown back at them. Bimbo takes a word normally used as a dismissal and puts it on the cover, which is already a position rather than a description, and it sets the terms of everything that follows.
The recording is read by the author, and our catalogue files it across memoir, personal development and the wider social conversation. Those are the three shelves a first-person account tends to straddle when it is arguing with a stereotype as much as recounting a life.