by Geneive Abdo & Jonathan Lyons ‧ RELEASE DATE: March 1, 2003
A thoughtful, reasoned contribution to the distressing affairs of the Middle East.
Which is stronger: the ayatollah or rock ’n’ roll?
Progressive Iranians, weary after 20 years of the ever-more repressive regime of the mullahs and their religious police, had much reason to hope that the inauguration of President Mohammed Khatami, a dark-horse candidate who in 1997 “had won by a landslide, beating out the handpicked conservative designated for the job,” would usher in a period of comparative freedom. And Khatami at first did much to reinforce that hope, write husband-and-wife journalists Abdo (No God But God, 2000) and Lyons, who were based in Iran from 1998 to 2001. Himself a journalist, Khatami declared, for instance, that the press would henceforth be free to criticize the government and himself, to say nothing of the clerics. The clerics responded angrily, bringing their considerable power to bear on the civil government and, in the authors’ view, repudiating the traditional Shi’ite Muslim vision of a society free of religious despotism. Abdo and Lyons point to a paradox that the Iranian government has failed to resolve since overthrowing the Shah: “Is it an Islamic state ruled by clerics or a republic ruled by the people?” Neither, it would appear—or perhaps both, though in either instance Khatami’s attempt to liberalize the government was steadily undone, with opposition newspapers closed and journalists, trade unionists, and student leaders imprisoned for having dared question the authority of the “Minister of Slogans” and other arms of the octopus state. In the authors’ blow-by-blow account, the mullahs emerge as villains through and through, victimizing not only the progressives but also ordinary Iranian Muslims by coveting the power they are supposed to shun. Whether the reform movement is truly dead remains to be seen; though the authors fear that it is, recent newspaper headlines suggest that plenty of Iranians still long for “an Islamic system but one built on social justice and civil liberties” and are willing to fight to bring it about.
A thoughtful, reasoned contribution to the distressing affairs of the Middle East.Pub Date: March 1, 2003
ISBN: 0-8050-7299-3
Page Count: 304
Publisher: Henry Holt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 15, 2002
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More by Geneive Abdo
BOOK REVIEW
by Geneive Abdo
by Robert Greene ‧ RELEASE DATE: Sept. 1, 1998
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 19, 2010
Kirkus Reviews Issue: July 15, 1998
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BOOK TO SCREEN
by R. Crumb ; illustrated by R. Crumb ‧ RELEASE DATE: Oct. 19, 2009
An erudite and artful, though frustratingly restrained, look at Old Testament stories.
The Book of Genesis as imagined by a veteran voice of underground comics.
R. Crumb’s pass at the opening chapters of the Bible isn’t nearly the act of heresy the comic artist’s reputation might suggest. In fact, the creator of Fritz the Cat and Mr. Natural is fastidiously respectful. Crumb took pains to preserve every word of Genesis—drawing from numerous source texts, but mainly Robert Alter’s translation, The Five Books of Moses (2004)—and he clearly did his homework on the clothing, shelter and landscapes that surrounded Noah, Abraham and Isaac. This dedication to faithful representation makes the book, as Crumb writes in his introduction, a “straight illustration job, with no intention to ridicule or make visual jokes.” But his efforts are in their own way irreverent, and Crumb feels no particular need to deify even the most divine characters. God Himself is not much taller than Adam and Eve, and instead of omnisciently imparting orders and judgment He stands beside them in Eden, speaking to them directly. Jacob wrestles not with an angel, as is so often depicted in paintings, but with a man who looks not much different from himself. The women are uniformly Crumbian, voluptuous Earth goddesses who are both sexualized and strong-willed. (The endnotes offer a close study of the kinds of power women wielded in Genesis.) The downside of fitting all the text in is that many pages are packed tight with small panels, and too rarely—as with the destruction of Sodom and Gomorrah—does Crumb expand his lens and treat signature events dramatically. Even the Flood is fairly restrained, though the exodus of the animals from the Ark is beautifully detailed. The author’s respect for Genesis is admirable, but it may leave readers wishing he had taken a few more chances with his interpretation, as when he draws the serpent in the Garden of Eden as a provocative half-man/half-lizard. On the whole, though, the book is largely a tribute to Crumb’s immense talents as a draftsman and stubborn adherence to the script.
An erudite and artful, though frustratingly restrained, look at Old Testament stories.Pub Date: Oct. 19, 2009
ISBN: 978-0-393-06102-4
Page Count: 224
Publisher: Norton
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 15, 2009
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