A well-tempered blend of true crime and literary lore.



Cep’s debut recounts how a series of rural Alabama murders inspired Harper Lee to write again, years after the publication of To Kill a Mockingbird.

Death surrounded the Rev. Willie Maxwell. Following his wife’s mysterious murder in 1970, four more of Maxwell’s family members were inexplicably found dead within seven years. Locals blamed voodoo, but a deeper investigation pointed to fraud: Maxwell, said Lee, “had a profound and abiding belief in insurance,” and he collected thousands in death benefits. He was a suspect in his wife’s case (charged and curiously acquitted), but years later, before the police could make another arrest, he was killed in a public fit of vigilante justice. In a further twist, the same lawyer who helped clear Maxwell’s name decided to represent his killer. Lee, still uncomfortable over the embellishments of her friend Truman Capote’s In Cold Blood, wondered “whether she could write the kind of old-fashioned, straitlaced journalism she admired, and whether it could be as successful as the far-bending accounts of her contemporaries.” In this effortlessly immersive narrative, Cep engagingly traces how Lee found the case and began—and ultimately abandoned—a project she called The Reverend. Cep writes with the accessible erudition of podcast-style journalism; she breathes not only life, but style into her exhaustive, impressively researched narrative. She relies heavily on the backstories of each of her narrative threads, which transforms her book into a collection of connected preambles. Short histories of fraud, Southern politics, and urban development take shape alongside a condensed biography of Lee. This kind of storytelling may feel disjointed, but there’s a reason for it: By fully detailing the crimes before Lee even appears, Cep allows readers to see the case through Lee’s eyes and recognize its nascent literary potential. Above all, this is a book about inspiration and how a passion for the mysteries of humanity can cause an undeniable creative spark.

A well-tempered blend of true crime and literary lore.

Pub Date: May 7, 2019

ISBN: 978-1-101-94786-9

Page Count: 336

Publisher: Knopf

Review Posted Online: Feb. 28, 2019

Kirkus Reviews Issue: March 15, 2019

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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 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...


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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