A stellar biography of a complicated subject: Max's portrait skillfully unites Wallace’s external and internal lives.

EVERY LOVE STORY IS A GHOST STORY

A LIFE OF DAVID FOSTER WALLACE

A thorough, understated account of the life of the pioneering author and how his addictions and fiction intersected.

Before his suicide, David Foster Wallace (1962–2008) pursued a host of paths as a writer. He was a showy ironist who drafted his Pynchon-esque debut novel, The Broom of the System (1987), while an undergraduate student at Amherst. He was a bright philosopher who wrote at length on Wittgenstein and infinity. He was a skilled (if not always factually rigorous) reporter who covered state fairs, politics and tennis with intelligence and style. But the biggest inspiration for his admirers was the compassion, wit and understanding of our media-soaked age that emerged in later novels like Infinite Jest (1996) and the posthumous The Pale King (2011). In this appropriately contemplative biography, New Yorker staff writer Max (The Family that Couldn't Sleep: A Medical Mystery, 2006) avoids overdramatizing climactic events in Wallace’s life, though it had plenty of emotional turmoil. Wallace was hospitalized for addiction and depression multiple times, and even at his steadiest he could collapse into rages. (Max chronicles in detail Wallace’s disastrous relationship with memoirist Mary Karr.) Max emphasizes the psychological tug of war within Wallace, who struggled to reconcile his suspicion of mass media with a habitual gulping down of hours of it; his high-minded pursuit of art with a need for emotional and sexual attention; and his resolve to blend entertaining fiction and dense philosophy. Max draws upon the rich trove of Wallace’s papers (he was an inveterate letter writer) and dozens of interviews, from Alcoholics Anonymous sponsors to literary contemporaries like Jonathan Franzen. Wallace’s family relationships get relatively short shrift, but it’s clear that under the veneer of a successful, brainy novelist was an eager-to-please native Midwesterner.

A stellar biography of a complicated subject: Max's portrait skillfully unites Wallace’s external and internal lives.

Pub Date: Sept. 4, 2012

ISBN: 978-0-670-02592-3

Page Count: 336

Publisher: Viking

Review Posted Online: July 29, 2012

Kirkus Reviews Issue: Aug. 15, 2012

Did you like this book?

No Comments Yet

If the authors are serious, this is a silly, distasteful book. If they are not, it’s a brilliant satire.

THE 48 LAWS OF POWER

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

Did you like this book?

The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the...

NIGHT

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

Did you like this book?

more