With the final volume yet to appear, Robert Caro’s magnificent biography is the standard-bearer, but Peters delivers a...
A slim but penetrating biography of Lyndon B. Johnson (1908–1973).
Washington Monthly founder Peters (Five Days in Philadelphia: The Amazing “We Want Willkie!” Convention of 1940 and How It Freed FDR to Save the Western World, 2005, etc.) paints a mostly unpleasant portrait of a fiercely ambitious climber who lacked any inhibition when it came to lying, cheating, bribing and betrayal. Though he doesn’t conceal the 36th president’s ugly traits or his role in the fiasco in Vietnam, the author also stresses that, along with Franklin Roosevelt, Johnson produced the greatest reform legislation of the 20th century. The son of a Texas legislator, Johnson grew up fascinated with politics. He learned the ropes in FDR’s Washington before winning election to the House in 1937. He lost the 1941 Senate election due to his opponent’s cheating, but he learned enough to cheat his way to victory in 1948. Although an enthusiastic New Dealer, he joined the nation’s move to the right after World War II and became an equally enthusiastic Southern conservative. Accepting the obscure job of majority leader, Johnson fashioned it into a powerful office that streamlined the Senate’s moribund procedures and gave him national fame as a political wizard. Young senator John F. Kennedy rejected his staff’s opposition to choose him as running mate in 1960, believing correctly that Southern votes would determine a very close race. As president after Kennedy’s assassination, Johnson displayed his genuine concern with poverty and injustice and, unlike later presidents, the political skill to do something about it. Before delivering a painful account of Johnson’s disastrous involvement in Vietnam, Peters makes it clear that the 1964–65 civil-rights, voting-rights and Medicare legislation represent dazzling humanitarian achievements.
With the final volume yet to appear, Robert Caro’s magnificent biography is the standard-bearer, but Peters delivers a splendid short version.Pub Date: June 8, 2010
ISBN: 978-0-8050-8239-5
Page Count: 224
Publisher: Times/Henry Holt
Review Posted Online: Dec. 30, 2010
Kirkus Reviews Issue: April 1, 2010
BOOK REVIEW
Her biographer, James Westcott, once said: “every time she tells a story, it gets better,” and one can’t help but wait in...
Legendary performance artist Abramovic unveils her story in this highly anticipated memoir.
When she was growing up, the author lived in an environment of privilege in Yugoslavia, which was on the verge of ruin. Her parents, two fervent communist partisans and loyal officers during Josip Broz Tito’s rule, were not the warmest people. Abramovic was put under the care of several people, only to be taken in by her grandmother. “I felt displaced and I probably thought that if I walked, it meant I would have to go away again somewhere,” she writes. Ultimately, she carried this feeling of displacement throughout most, if not all, of her career. Many remember The Artist Is Present, her 2010 performance at the Museum of Modern Art in New York during which she sat in front of museumgoers for 736 hours, but her work started long before then. As a woman who almost single-handedly launched female performance art, the author has spent the better part of her life studying the different ways in which the body functions in time and space. She pushed herself to explore her body’s limits and her mind’s boundaries (“I [have] put myself in so much pain that I no longer [feel] any pain”). For example, she stood in front of a bow and arrow aimed at her heart with her romantic and performance partner of 12 years, Ulay. She was also one of the first people to walk along the Great Wall of China, a project she conceived when secluded in aboriginal Australia. While the author’s writing could use some polishing, the voice that seeps through the text is hypnotizing, and readers will have a hard time putting the book down and will seek out further information about her work.
Her biographer, James Westcott, once said: “every time she tells a story, it gets better,” and one can’t help but wait in anticipation of what she is concocting for her next tour de force.Pub Date: Oct. 25, 2016
ISBN: 978-1-101-90504-3
Page Count: 384
Publisher: Crown Archetype
Review Posted Online: Aug. 20, 2016
Kirkus Reviews Issue: Sept. 1, 2016
However charily one should apply the word, a beautiful book, an unconditionally involving memoir for our time or any time.
Maya Angelou is a natural writer with an inordinate sense of life and she has written an exceptional autobiographical narrative which retrieves her first sixteen years from "the general darkness just beyond the great blinkers of childhood."
Her story is told in scenes, ineluctably moving scenes, from the time when she and her brother were sent by her fancy living parents to Stamps, Arkansas, and a grandmother who had the local Store. Displaced they were and "If growing up is painful for the Southern Black girl, being aware of her displacement is the rust on the razor that threatens the throat." But alternating with all the pain and terror (her rape at the age of eight when in St. Louis With her mother) and humiliation (a brief spell in the kitchen of a white woman who refused to remember her name) and fear (of a lynching—and the time they buried afflicted Uncle Willie under a blanket of vegetables) as well as all the unanswered and unanswerable questions, there are affirmative memories and moments: her charming brother Bailey; her own "unshakable God"; a revival meeting in a tent; her 8th grade graduation; and at the end, when she's sixteen, the birth of a baby. Times When as she says "It seemed that the peace of a day's ending was an assurance that the covenant God made with children, Negroes and the crippled was still in effect."
However charily one should apply the word, a beautiful book, an unconditionally involving memoir for our time or any time.Pub Date: Feb. 1, 1969
ISBN: 0375507892
Page Count: 235
Publisher: Random House
Review Posted Online: May 14, 2012
Kirkus Reviews Issue: Feb. 1, 1969
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