Intellectually stimulating but self-aggrandizing—a portrait of the artist in portraits of other artists.
An experimental memoir told in a series of biographical sketches of the author’s friends and colleagues.
In his latest book, Meyers (Robert Lowell in Love, 2016, etc.) attempts to revive appreciation for 14 underrecognized writers, artists, and scholars. Composed of short profiles on authors like Phillip Knightley and Paul Theroux, the book provides an insider’s view of their personal and professional lives. Drawn from “learned gatherings” and the author’s lengthy correspondence with his subjects, the narrative consists of intriguing, brief portraits, rendering each into “a colorful legend among the colorless academic drudges” (about critic Donald Greene). In the first section, Meyers focuses on his personal acquaintances, and the second features essays on five inspirational men he wishes he could have met—e.g., scholar and Russian spy Anthony Blunt. Meyers appears prominently throughout his book; while the texts are meant to honor these artists and exalt their histories and bibliographies, they transform into recurring reflections of Meyers and what his subjects think of him. It’s a brilliant way for a biographer to finally write about himself, although the author frequently revels in his own praise. The all-male focus feels old-fashioned, as does the author’s “interest in masculine writers” and love of gossip (many profiles recount affairs and other sordid morsels). Meyers is frequently “eager to win his [subject’s] respect,” and he seeks relationships based on a mutual intellectual appreciation. He mentions his search for an “ideal father figure” throughout the book, but he rarely moves past his own reflection. On Hugh Gordon Porteus, Meyers explains Porteus “was delighted to be rediscovered by me.” Later, the author recounts his “treasured” friendship with James Salter through dinner-party anecdotes and snippets of their storied intellectual discourse. He circles around self-affirming details like how “Jim inscribed twenty-six various editions of his books for [him]” and even shares “the three best” dedications (inscribed in Salter’s A Sport and a Pastime: “To Jeffrey. Represents, I think, the apogee”).
Intellectually stimulating but self-aggrandizing—a portrait of the artist in portraits of other artists.Pub Date: Oct. 9, 2018
ISBN: 978-0-8139-4168-4
Page Count: 240
Publisher: Univ. of Virginia
Review Posted Online: July 30, 2018
Kirkus Reviews Issue: Aug. 15, 2018
The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the...
Elie Wiesel spent his early years in a small Transylvanian town as one of four children.
He was the only one of the family to survive what Francois Maurois, in his introduction, calls the "human holocaust" of the persecution of the Jews, which began with the restrictions, the singularization of the yellow star, the enclosure within the ghetto, and went on to the mass deportations to the ovens of Auschwitz and Buchenwald. There are unforgettable and horrifying scenes here in this spare and sombre memoir of this experience of the hanging of a child, of his first farewell with his father who leaves him an inheritance of a knife and a spoon, and of his last goodbye at Buchenwald his father's corpse is already cold let alone the long months of survival under unconscionable conditions.
Pub Date: Jan. 16, 2006
ISBN: 0374500010
Page Count: 120
Publisher: Hill & Wang
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: Jan. 15, 2006
An autobiography as toxic and addictive as any drug its author has ever ingested.
The legendary booze-addled metal rocker turned reality-TV star comes clean in his tell-all autobiography.
Although brought up in the bleak British factory town of Aston, John “Ozzy” Osbourne’s tragicomic rags-to-riches tale is somehow quintessentially American. It’s an epic dream/nightmare that takes him from Winson Green prison in 1966 to a presidential dinner with George W. Bush in 2004. Tracing his adult life from petty thief and slaughterhouse worker to rock star, Osbourne’s first-person slang-and-expletive-driven style comes off like he’s casually relating his story while knocking back pints at the pub. “What you read here,” he writes, “is what dribbled out of the jelly I call my brain when I asked it for my life story.” During the late 1960s his transformation from inept shoplifter to notorious Black Sabbath frontman was unlikely enough. In fact, the band got its first paying gigs by waiting outside concert venues hoping the regularly scheduled act wouldn’t show. After a few years, Osbourne and his bandmates were touring America and becoming millionaires from their riff-heavy doom music. As expected, with success came personal excess and inevitable alienation from the other members of the group. But as a solo performer, Osbourne’s predilection for guns, drink, drugs, near-death experiences, cruelty to animals and relieving himself in public soon became the stuff of legend. His most infamous exploits—biting the head off a bat and accidentally urinating on the Alamo—are addressed, but they seem tame compared to other dark moments of his checkered past: nearly killing his wife Sharon during an alcohol-induced blackout, waking up after a bender in the middle of a busy highway, burning down his backyard, etc. Osbourne is confessional to a fault, jeopardizing his demonic-rocker reputation with glib remarks about his love for Paul McCartney and Robin Williams. The most distinguishing feature of the book is the staggering chapter-by-chapter accumulation of drunken mishaps, bodily dysfunctions and drug-induced mayhem over a 40-plus-year career—a résumé of anti-social atrocities comparable to any of rock ’n’ roll’s most reckless outlaws.
An autobiography as toxic and addictive as any drug its author has ever ingested.Pub Date: Jan. 25, 2010
ISBN: 978-0-446-56989-7
Page Count: 320
Publisher: Grand Central Publishing
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 1, 2009
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