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ALEXANDRA

THE LAST TSARINA

Once again, Erickson demonstrates her skill in limning a forceful royal who tried unsuccessfully to alter history and escape...

Russia’s last empress receives compassionate but by no means uncritical treatment from biographer Erickson (Josephine: A Life of the Empress, 1999, etc.).

Alexandra’s term for herself—“Pechvogel,” or “bird of ill omen”—seems an all-too-apt description for her star-crossed life. A German-born granddaughter of Queen Victoria of Britain, she lost her mother Alice, the Grand Duchess of Hesse, when she was only six. After her marriage to Czar Nicholas of Russia, she found herself beset by ill health and viperish tongues. Debilitating migraines, sciatica, and shortness of breath resulted from several exhausting pregnancies. Her depression was deepened by her interfering mother-in-law, the dowager empress; by a sophisticated, French-speaking court that regarded her as an interloper; and by a populace who called her the “German Whore” and scorned her inability to produce a healthy male heir. That last failure so upset Alexandra (or “Alix,” as Erickson calls her familiarly) that she came to rely increasingly on Father Gregory, the infamous Rasputin, whose mere presence could stop her hemophiliac son’s hemorrhaging. The irony, Erickson shows, is that Alix’s shyness and imperiousness masked a romantic and selfless woman. Against the matchmaking conventions of her time, Alix rebuffed all marriage overtures until she could wed her true love, Nicholas, and throughout her marriage she sought to bolster the confidence of this sensitive, weak man. While warm, affectionate, and even amusing at times, she was drawn most easily to situations where self-sacrifice was required—whether on behalf of her children or the soldiers she nursed. Ironically, her protective instincts couldn’t save herself or her family from execution by the Bolsheviks in 1918.

Once again, Erickson demonstrates her skill in limning a forceful royal who tried unsuccessfully to alter history and escape fate.

Pub Date: Sept. 1, 2001

ISBN: 0-312-25307-9

Page Count: 384

Publisher: St. Martin's

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: July 15, 2001

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NIGHT

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. 

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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WHEN BREATH BECOMES AIR

A moving meditation on mortality by a gifted writer whose dual perspectives of physician and patient provide a singular...

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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

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