Tate wanders over the Hendrix landscape everywhere and in awe, offering a cerebral and gingery reminder of his subject’s...

MIDNIGHT LIGHTNING

JIMI HENDRIX AND THE BLACK EXPERIENCE

A jumpy, fast-talking take on Jimi Hendrix—the social meaning, the sexual mystery, and the music of a “musician’s musician.”

“Race, sex, technology, and Jimi Hendrix—these will position the coordinates on this star map,” explains music journalist Tate (Everything But the Burden, not reviewed). Hendrix was super-elevated for the author, “a living embodiment of all our racial fears, romantic fantasies, otherworldly dreams, and radical desires,” and the writer’s spellbound pyrotechnics can tend at once toward hagiography and hyperbole. Did Hendrix, asks Tate, embody our racial fears, or was he a shape-shifter who could shred racial shibboleths, receiving exceptional “treatment from whites because he was not perceived as a political threat . . . traveled in white company, drew a white crowd, kept a white band, and, oh yeah, bedazzled the Hostiles in a field considered a white man’s province”? Was the inventive life force he found in the Fender Strat based in rhythm and blues, soul, and jazz, or was it a fiery marriage of storefront gospel singer, barwalking saxophonist, and Delta blues? Tate makes Hendrix into a fascinating lawbreaker and Rosetta stone, liquid and languid, “a supersignifier of Post-Liberate Black Consciousness,” possibly “what life as a Black Man without fear of a white planet might look like, feel like, taste like.” Erotic, destructive, chaotic, yet a gentleman too, sartorially definitive, and, oh boy, a musician who could play a loud bolthole to the cosmic, “except [that] the ecumenical Hendrix wanted to pursue a path to cosmos that would be accessible to the average American Pop fan.” Tate is smart and playful, speculating on what might have been if the wine and sleeping pills hadn’t done their work, crafting “some Borgesian fluff for this occasion, confections turned fictions.”

Tate wanders over the Hendrix landscape everywhere and in awe, offering a cerebral and gingery reminder of his subject’s social and musical revolution. (4 b&w photos)

Pub Date: July 1, 2003

ISBN: 1-55652-469-2

Page Count: 176

Publisher: N/A

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: May 1, 2003

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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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