Exquisitely detailed but at times numbing fashion memoir that seems determined to hold readers at a distance.

AUTOBIOGRAPHY OF A WARDROBE

A MEMOIR

Kendall (American Daughter: Discovering My Mother, 2000, etc.) tells her clothing-centric life story in her wardrobe’s voice.

The wardrobe remembers B., as she’s referred to throughout, at age five “in a daffodil-yellow pinafore and a white blouse with puffed sleeves.” It was the 1950s, not an exciting time for clothing in “a large midwestern city” (curiously not named, though we know it to be St. Louis from Kendall’s other writing). The wardrobe watched with patient, motherly affection and concern as B. navigated her father’s chilly distance and mother’s stern disapproval toward college in Boston, foreign travel, escape to New York and general fabulousness. The major stages of B.’s life were marked by certain iconic stages of fashion: The wardrobe notes that different swimsuits affected her body image in different ways and describes B.’s first trip to Design Research, the cutting-edge Cambridge shop where she learned that, “If you were a woman…and not an academic drone, you had to have a Marimekko dress.” (The Finnish clothing company practically seems to have bought advertising space in this book.) The disembodied narrator, who provides the concern that Kendall’s parents did not, allows the author to achieve the kind of cool composure that memoirs often lack. At times this is disconcerting, perhaps purposefully so, as in the scene when her mother’s funeral prompts the wardrobe only to observe that it occasioned the soothing purchase of B.’s first black dress. With most other writers, such an out-there gimmick would prove disastrous. In Kendall’s skilled hands it becomes merely problematic. No matter how artfully she weaves the fractured flashes of her biography into the wardrobe’s determined account to give a history of the last half-century of fashion, Kendall can’t quite sustain interest in what we’re allowed to see of her life, much less what outfits she wore.

Exquisitely detailed but at times numbing fashion memoir that seems determined to hold readers at a distance.

Pub Date: May 1, 2008

ISBN: 978-0-375-42500-4

Page Count: 240

Publisher: Pantheon

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: April 1, 2008

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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 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

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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

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