Essential reading for Reed fans and strongly recommended for anyone interested in rock as art.
A full-length portrait of legendary musician Lou Reed (1942-2013).
Rolling Stone contributing editor DeCurtis (Creative Writing/Univ. of Pennsylvania; In Other Words: Artists Talk About Life and Work, 2005, etc.), who followed Reed’s career closely over the years, claims to be one of the few rock writers Reed respected. Focusing on the music as much as the singer’s often dissolute lifestyle and controversial opinions, the author makes a good case for Reed’s lasting significance. Born in Brooklyn, he moved with his middle-class Jewish family to Long Island when he was a young boy. A rebellious teenager, he began playing in bands early on. At Syracuse University, he came under the influence of the poet Delmore Schwartz, who encouraged him to take writing seriously—and served as a model of the bohemian lifestyle. Moving to New York City, he soon joined up with the future members of the Velvet Underground, who gained cachet by being “adopted” by Andy Warhol. But the band set another pattern that would dominate Reed’s career: an inability to share credit. Singer Nico, installed by Warhol to give the band glamour, and John Cale, who co-wrote many of the band’s songs, were both bones of contention. Reed embarked on a long solo career, marked by alternating flashes of brilliance and gestures that seemed deliberate self-sabotage. DeCurtis faithfully chronicles all of them, with detailed information on recording sessions and Reed’s musical collaborators. He also gives illuminating background information, often drawn from Reed’s personal experiences, on what led to some of the compositions. Despite a flamboyant lifestyle in the gay culture of the day, Reed was an intensely private person, but the author has made every effort to interview those who knew him best. While his assessment of Reed’s importance seems slightly overblown, the book is a well-written, valuable document of a major figure in the American rock scene, putting a human face on a man who often seemed impossibly remote.
Essential reading for Reed fans and strongly recommended for anyone interested in rock as art.Pub Date: Oct. 10, 2017
ISBN: 978-0-316-55242-4
Page Count: 560
Publisher: Little, Brown
Review Posted Online: July 16, 2017
Kirkus Reviews Issue: Aug. 1, 2017
BOOK REVIEW
BOOK REVIEW
A moving meditation on mortality by a gifted writer whose dual perspectives of physician and patient provide a singular...
A neurosurgeon with a passion for literature tragically finds his perfect subject after his diagnosis of terminal lung cancer.
Writing isn’t brain surgery, but it’s rare when someone adept at the latter is also so accomplished at the former. Searching for meaning and purpose in his life, Kalanithi pursued a doctorate in literature and had felt certain that he wouldn’t enter the field of medicine, in which his father and other members of his family excelled. “But I couldn’t let go of the question,” he writes, after realizing that his goals “didn’t quite fit in an English department.” “Where did biology, morality, literature and philosophy intersect?” So he decided to set aside his doctoral dissertation and belatedly prepare for medical school, which “would allow me a chance to find answers that are not in books, to find a different sort of sublime, to forge relationships with the suffering, and to keep following the question of what makes human life meaningful, even in the face of death and decay.” The author’s empathy undoubtedly made him an exceptional doctor, and the precision of his prose—as well as the moral purpose underscoring it—suggests that he could have written a good book on any subject he chose. Part of what makes this book so essential is the fact that it was written under a death sentence following the diagnosis that upended his life, just as he was preparing to end his residency and attract offers at the top of his profession. Kalanithi learned he might have 10 years to live or perhaps five. Should he return to neurosurgery (he could and did), or should he write (he also did)? Should he and his wife have a baby? They did, eight months before he died, which was less than two years after the original diagnosis. “The fact of death is unsettling,” he understates. “Yet there is no other way to live.”
A moving meditation on mortality by a gifted writer whose dual perspectives of physician and patient provide a singular clarity.Pub Date: Jan. 19, 2016
ISBN: 978-0-8129-8840-6
Page Count: 248
Publisher: Random House
Review Posted Online: Sept. 29, 2015
Kirkus Reviews Issue: Oct. 15, 2015
If the authors are serious, this is a silly, distasteful book. If they are not, it’s a brilliant satire.
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 19, 2010
Kirkus Reviews Issue: July 15, 1998
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