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SHOOTING THE MOON

THE TRUE STORY OF AN AMERICAN MANHUNT UNLIKE ANY OTHER, EVER

It’s too bad Harris didn’t take the trouble to document his sources, because if everything he says can be supported, he’s...

A rollicking but slippery rendition of the prosecution of the pockmarked potentate of Panama.

Harris (The Last Stand, 1996), who began his career as an antiwar activist, now produces investigative journalism of the big screen, good-guys-vs.-bad-guys variety. Here the bad guys are Manuel Noriega, the Medellín cocaine cartel, and especially the members of the Reagan and Bush administrations who came into contact with them. The good guys are a couple of underdog DEA agents and federal prosecutors in Miami who busted through the old boys’ network to investigate and indict Noriega—an indictment that, ironically, led to an invasion of Panama championed by many of the general’s former protectors. The story is told colorfully, with lots of tough-guy cop-talk, scummy informers, and brief cutaways to beleaguered wives. It’s unquestionably readable, even if the outcome is too well-known to generate much suspense. There are even a few moments (such as the anecdote an informer relates to DEA agent Steve Grilli about Noriega’s escapades in an airplane cockpit) that rise to the level of classic tragicomedy. But Harris’s storytelling inspires no more trust than Hollywood’s. He provides no notes or attributions, even for direct quotes. He misrepresents legal issues integral to the case, for example confusing jurisdiction and venue. He coyly avoids names, even of obvious public figures, perhaps for legal reasons. And his tone is so stridently anti–Cold War and anti-Reagan that it’s hard to give his sloppy techniques the benefit of the doubt.

It’s too bad Harris didn’t take the trouble to document his sources, because if everything he says can be supported, he’s written an accessible, eye-opening account of one of the murkiest episodes in recent history. But it’s hard to take him seriously on his own merits.

Pub Date: May 21, 2001

ISBN: 0-316-34080-4

Page Count: 400

Publisher: Little, Brown

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: March 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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