The author is very much in the picture in this ambitious, self- and style-conscious portrait of 20th-century celebrities.

MANHATTAN'S BABE

Part romance, part literary biography, part soapbox, this self-described “faction” depicts the “son of a Jewish cheese importer, besotted with the daughter of one of his country’s most famous writers”—in other words the youthful love affair between J.D. Salinger and Oona O’Neill.

“Maybe one day, someone will write a sentimental book about us!” writes Oona to Jerry in this metafiction from French writer Beigbeder (Windows on the World, 2005, etc.). And here it is, presented in modernist form complete with watercolor illustrations, appearances by the author, and claims to have invented the first YouTube novel (readers are urged to check out 17-year-old O’Neill’s 1942 screen test on that site). Opening with the assertion that the characters, places, events, and dates are all real, the book proceeds to embroider them with invented dialogue and correspondence, psychological, social, and literary speculation, and much more concerning the couple and their milieu. Their involvement begins in 1940 at the Stork Club, where shy embryonic writer Salinger sees Oona, a 15-year-old it girl hanging out with Gloria Vanderbilt. The sentimental centerpiece of their relationship is a rhapsodic summer night spent together on the Jersey shore: “They kissed, she floated, and he carried her.” But the mutuality fades. He loves her more; she is burdened by family issues and is also too young to have sex or marry. After Pearl Harbor, Salinger joins up, and O’Neill moves to California, where she will meet and marry Charlie Chaplin, age 54. Beigbeder’s romantic, analytical, sometimes excessively cute narration of events is mixed with walk-on roles for other famous figures—Capote, Hemingway, Orson Welles. The writing is cinematic and consumable but achieves power during descriptions of Salinger’s harrowing, life-changing World War II experiences.

The author is very much in the picture in this ambitious, self- and style-conscious portrait of 20th-century celebrities.

Pub Date: Dec. 27, 2016

ISBN: 978-1-61428-554-0

Page Count: 352

Publisher: Assouline

Review Posted Online: Feb. 8, 2017

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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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Thus the second most costly war in American history, whose “outcome seemed little short of a miracle.” A sterling account.

1776

A master storyteller’s character-driven account of a storied year in the American Revolution.

Against world systems, economic determinist and other external-cause schools of historical thought, McCullough (John Adams, 2001, etc.) has an old-fashioned fondness for the great- (and not-so-great) man tradition, which may not have much explanatory power but almost always yields better-written books. McCullough opens with a courteous nod to the customary villain in the story of American independence, George III, who turns out to be a pleasant and artistically inclined fellow who relied on poor advice; his Westmoreland, for instance, was a British general named Grant who boasted that with 5,000 soldiers he “could march from one end of the American continent to the other.” Other British officers agitated for peace, even as George wondered why Americans would not understand that to be a British subject was to be free by definition. Against these men stood arrayed a rebel army that was, at the least, unimpressive; McCullough observes that New Englanders, for instance, considered washing clothes to be women’s work and so wore filthy clothes until they rotted, with the result that Burgoyne and company had a point in thinking the Continentals a bunch of ragamuffins. The Americans’ military fortunes were none too good for much of 1776, the year of the Declaration; at the slowly unfolding battle for control over New York, George Washington was moved to despair at the sight of sometimes drunk soldiers running from the enemy and of their officers “who, instead of attending to their duty, had stood gazing like bumpkins” at the spectacle. For a man such as Washington, to be a laughingstock was the supreme insult, but the British were driven by other motives than to irritate the general—not least of them reluctance to give up a rich, fertile and beautiful land that, McCullough notes, was providing the world’s highest standard of living in 1776.

Thus the second most costly war in American history, whose “outcome seemed little short of a miracle.” A sterling account.

Pub Date: June 1, 2005

ISBN: 0-7432-2671-2

Page Count: 656

Publisher: Simon & Schuster

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: April 1, 2005

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