All the Robbins biographies have their merits, but this empathetic and accessible take is the one most likely to appeal to...

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SOMEWHERE

THE LIFE OF JEROME ROBBINS

Greg Lawrence exposed a monster (Dance with Demons, 2001), and Deborah Jowitt honored a choreographer (Jerome Robbins, 2004), but Vaill captures a human being in her account of the man who transformed 20th-century Broadway and ballet.

As she did in her biography of Gerald and Sara Murphy (Everybody Was So Young, 1998), the author takes what seems like a shopworn subject and refreshes it with her discerning eye. In her view, Jerome Robbins (1918–98) was driven by the fear that sooner or later he would be exposed as, in his words, “not talented . . . a little Jewish kike.” His art always yearned for a place where he would be accepted and wholeheartedly loved—the “Somewhere” of West Side Story, the paradigm-altering musical Robbins conceived, choreographed and directed in 1957. That fear may have fueled his notorious cruelty in rehearsals (acknowledged but not dwelled on by the author) and his reluctant naming of names for HUAC in 1953 (Vaill blames his lawyer, possibly an FBI informant). It might also explain his tendency toward three-sided affairs that precluded permanent commitment to a man or woman. (Famous bedmates included Montgomery Clift, Slim Hayward, Nora Kaye and perhaps Leonard Bernstein; the predominantly homosexual Robbins had a deep need for female companionship and love.) On the subject of his brilliant career in two fields, Vaill does better with the Broadway side—On the Town, Gypsy, The King and I, etc.—but capably covers his efforts to make ballet an American form, from Fancy Free when he was only 25 to his years with New York City Ballet as resident choreographer second only (but always) to Balanchine. The author doesn’t really try to parse Robbins’s complex relationship with Mr. B., nor does she spend much time considering why he walked away from Broadway at the height of his commercial success with Fiddler on the Roof for the more austere rewards of ballets like Dances at a Gathering. She emphasizes the artistic commitment and courage of an amazingly unhappy, neurotic man whose triumphs were commensurate with the tortures through which he put himself and everyone around him in order to achieve.

All the Robbins biographies have their merits, but this empathetic and accessible take is the one most likely to appeal to general readers.

Pub Date: Nov. 21, 2006

ISBN: 0-7679-0420-6

Page Count: 464

Publisher: Broadway

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Sept. 1, 2006

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Doyle offers another lucid, inspiring chronicle of female empowerment and the rewards of self-awareness and renewal.

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UNTAMED

More life reflections from the bestselling author on themes of societal captivity and the catharsis of personal freedom.

In her third book, Doyle (Love Warrior, 2016, etc.) begins with a life-changing event. “Four years ago,” she writes, “married to the father of my three children, I fell in love with a woman.” That woman, Abby Wambach, would become her wife. Emblematically arranged into three sections—“Caged,” “Keys,” “Freedom”—the narrative offers, among other elements, vignettes about the soulful author’s girlhood, when she was bulimic and felt like a zoo animal, a “caged girl made for wide-open skies.” She followed the path that seemed right and appropriate based on her Catholic upbringing and adolescent conditioning. After a downward spiral into “drinking, drugging, and purging,” Doyle found sobriety and the authentic self she’d been suppressing. Still, there was trouble: Straining an already troubled marriage was her husband’s infidelity, which eventually led to life-altering choices and the discovery of a love she’d never experienced before. Throughout the book, Doyle remains open and candid, whether she’s admitting to rigging a high school homecoming court election or denouncing the doting perfectionism of “cream cheese parenting,” which is about “giving your children the best of everything.” The author’s fears and concerns are often mirrored by real-world issues: gender roles and bias, white privilege, racism, and religion-fueled homophobia and hypocrisy. Some stories merely skim the surface of larger issues, but Doyle revisits them in later sections and digs deeper, using friends and familial references to personify their impact on her life, both past and present. Shorter pieces, some only a page in length, manage to effectively translate an emotional gut punch, as when Doyle’s therapist called her blooming extramarital lesbian love a “dangerous distraction.” Ultimately, the narrative is an in-depth look at a courageous woman eager to share the wealth of her experiences by embracing vulnerability and reclaiming her inner strength and resiliency.

Doyle offers another lucid, inspiring chronicle of female empowerment and the rewards of self-awareness and renewal.

Pub Date: March 10, 2020

ISBN: 978-1-9848-0125-8

Page Count: 352

Publisher: Dial Books

Review Posted Online: Dec. 22, 2019

Kirkus Reviews Issue: Jan. 15, 2020

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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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