Interview/profiles from the 1970's—when Brown wrote for the St. Louis Post-Dispatch and other newspapers—with mini-updates that don't really manage to dispel the musty aroma of old news clippings. Still, only one of the pieces—a repetitious, maudlin visit with actor/playwright Jason Miller (That Championship Season)- -registers simply as much dated ado about nothing. The other interview-subjects are either important enough, or entertaining enough, to remain at least sporadically engaging. Lanford Wilson discusses the intriguing role of director Marshall Mason in the evolution of Talley's Folly. Frank D. Gilroy, John Patrick (Teahouse of the August Moon), and, especially, William Goldman are amusing on the vagaries of Hollywood filmmaking. Edward Albee, predictably sour, rails at ``the John Simons of the world,'' while forgotten playwright Mary Mercier (Johnny No-Trump) is gently bitter about her far more devastating experience with the New York critics. Superproducer David Merrick is cheerfully straightforward about his flops; Horton Foote is eminently practical about his quiet, productive, multimedia career. There are very sketchy chats with Tennessee Williams and (separately) his mother (no surprises); with Alan Jay Lerner, William Inge, and Richard Wilbur (Broadway lyricist and former poet laureate, warning that ``almost anybody going seriously into musical theater is bound to find himself used and cheated and alienated''). And, throughout, Brown fills things out with quotes from other show-folk—and with his own comments, which range from astute to fatuous to portentous. (On Inge in decline: ``No longer did he know what was his right in his world. No longer was the path clear.'') Minor moments with some major (and not-so-major) talents; diverting and informative in spots. (Fourteen b&w photographs—not seen.)

Pub Date: June 1, 1992

ISBN: 1-55704-128-8

Page Count: 224

Publisher: Newmarket Press

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: April 15, 1992

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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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