A chorus of lyrical voices singing hopefully about a most contentious, divisive, and violent situation.

THIS IS NOT A BORDER

REPORTAGE & REFLECTION FROM THE PALESTINE FESTIVAL OF LITERATURE

Two co-founders of the Palestine Festival of Literature (PalFest), mother and son, collect an array of emotional pieces from this international gathering of writers begun in 2008.

Editors Soueif (Cairo: Memoir of a City Transformed, 2014, etc.) and Hamilton (The City Always Wins, 2017, etc.) begin and end the collection—she with an introduction and an essay; he with the longest piece, which encapsulates the conference since 2008. There are some poems, as well, including Suheir Hammad’s affecting “The Gaza Suite,” whose sections are distributed throughout. The collection includes plenty of notable writers familiar to Western readers: the late Henning Mankell, Geoff Dyer, Alice Walker, and Chinua Achebe, whose offerings range from tributes to the PalFest itself to accounts of their own experiences attending. There is also a touching account of Richard Ford’s nearly breaking down while reading a Seamus Heaney poem. Most of the writers, though, are from the region, and their messages—oft repeated—are clear: Israel is, in their view, basically running an open-air prison; countless innocent civilians, including many children, have died; Israel is in the process of erasing the evidence of many generations of inhabitants. These, of course, are not messages that will attract Israel’s many supporters, but others in the West—who, as some of the authors here point out, know little about the conflict—will no doubt be alarmed at the vast array of grim detail and example. Although the writers concur that Israel is doing something awful, there are few allusions to a violent response. Instead, the writers express the belief that words will be the things with feathers that will eventually bring attention—and peace. Other notable contributors include J.M. Coetzee, Raja Shehadeh, Michael Ondaatje, Claire Messud, Teju Cole, Pankaj Mishra, and Kamila Shamsie.

A chorus of lyrical voices singing hopefully about a most contentious, divisive, and violent situation.

Pub Date: July 18, 2017

ISBN: 978-1-63286-884-8

Page Count: 336

Publisher: Bloomsbury

Review Posted Online: May 9, 2017

Kirkus Reviews Issue: June 1, 2017

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If the authors are serious, this is a silly, distasteful book. If they are not, it’s a brilliant satire.

THE 48 LAWS OF POWER

The authors have created a sort of anti-Book of Virtues in this encyclopedic compendium of the ways and means of power.

Everyone wants power and everyone is in a constant duplicitous game to gain more power at the expense of others, according to Greene, a screenwriter and former editor at Esquire (Elffers, a book packager, designed the volume, with its attractive marginalia). We live today as courtiers once did in royal courts: we must appear civil while attempting to crush all those around us. This power game can be played well or poorly, and in these 48 laws culled from the history and wisdom of the world’s greatest power players are the rules that must be followed to win. These laws boil down to being as ruthless, selfish, manipulative, and deceitful as possible. Each law, however, gets its own chapter: “Conceal Your Intentions,” “Always Say Less Than Necessary,” “Pose as a Friend, Work as a Spy,” and so on. Each chapter is conveniently broken down into sections on what happened to those who transgressed or observed the particular law, the key elements in this law, and ways to defensively reverse this law when it’s used against you. Quotations in the margins amplify the lesson being taught. While compelling in the way an auto accident might be, the book is simply nonsense. Rules often contradict each other. We are told, for instance, to “be conspicuous at all cost,” then told to “behave like others.” More seriously, Greene never really defines “power,” and he merely asserts, rather than offers evidence for, the Hobbesian world of all against all in which he insists we live. The world may be like this at times, but often it isn’t. To ask why this is so would be a far more useful project.

If the authors are serious, this is a silly, distasteful book. If they are not, it’s a brilliant satire.

Pub Date: Sept. 1, 1998

ISBN: 0-670-88146-5

Page Count: 430

Publisher: Viking

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: July 15, 1998

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The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the...

NIGHT

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. 

The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the sphere of suffering shared, and in this case extended to the death march itself, there is no spiritual or emotional legacy here to offset any reader reluctance.

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

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