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LET THE MOUNTAINS TALK, LET THE RIVERS RUN

PRESCRIPTIONS FOR OUR PLANET

A provocative and controversial conservationist encapsulates his opinions and suggestions for restoring the health of a planet at risk. Brower (For Earth's Sake, 1990) has reached the ripe age of 82, and this slim volume feels like a swan song—or perhaps he might prefer to call it ``goose music,'' referring to the tonic of wildness that we all must hear, appreciate, and identify with in order to save our soiled Earth. Aided by Chapple (Kayaking the Full Moon, 1993), Brower runs through a handful of eco-ideas, some more familiar than others: putting boundaries around cities, linking protected animal havens to allow natural migration, encouraging eco-tourism, reining in our overuse of the automobile, and turning to solar power. He waxes enthusiastic on the subject of reducing forest consumption, and his own words are printed here on paper made from kenaf, a hibiscus relative whose development as a tree substitute might eventually protect our last acres of old-growth forest. Brower urges that efforts be made to promote ``CPR for the Earth'': conservation, preservation, and restoration. The book is a mother lode of quotable sayings from the man best known to readers from John McPhee's Encounters with the Archdruid, and sometimes style obscures content. Brower has a wonderful, folksy voice, and though he has more enemies than most conservationists, he has also become a mythic figure in the environmental movement—so it feels almost disloyal to note that a towering ego shows through his comments. In addition, the Archdruid's prescriptions are fairly vague, though it could be argued that this is a statement of personal mission, not a grant proposal. Unapologetic and defiant as ever, Brower has penned a manifesto for those who would pick up his torch. Whether his methods have been more help or hindrance to his cause is still to be decided. (Author tour)

Pub Date: April 1, 1995

ISBN: 0-06-252033-4

Page Count: 192

Publisher: N/A

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Feb. 15, 1995

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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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