This occasionally overwhelming torrent of words reveals both an irrepressible individual with a talent for survival and a...

THE HOSPITAL ALWAYS WINS

A MEMOIR

A heady brew of sex, drugs, painting, and music fills this memoir by a man who spent nearly two decades in a mental hospital.

An artist, musician, and writer, Ibrahim descended into paranoid schizophrenia in his early 20s; believing his mother was possessed, he killed her in an attempt to exorcise her. In this memoir, he weaves together two stories. One is the story of his life before his incarceration, including colorful portraits of a loving and enterprising marijuana-addicted mother and a much-absent jazz musician father as well as an account of his alarming hallucinations and his increasing paranoia. The second story is about his survival after incarceration. Briefly jailed in hellish Rikers Island, Ibrahim was ruled not guilty by reason of insanity and spent most of his years at Creedmoor, a huge state mental hospital in Queens Village, New York. He writes scathingly of its violence, homosexual sex, staff unprofessionalism, and administrative ineptitude. His talent for painting eventually got him to Creedmoor’s Living Museum, an art studio and sanctuary for patients, where he flourished. No shrinking violet, the author regales readers with tales of his sexual escapades with female staff, his success as a painter and a musician, the intransigence of his psychiatrists, and the loyalty and diligence of his lawyer. The incarceration chapters show him as a mature man struggling for his freedom; the chapters spliced between show him as a drug-addicted youth spiraling down into madness. The two interwoven narratives reach their climaxes with the older imprisoned Ibrahim achieving his freedom and the youthful Ibrahim killing his mother.

This occasionally overwhelming torrent of words reveals both an irrepressible individual with a talent for survival and a mental health system in dire need of repair.

Pub Date: June 1, 2016

ISBN: 978-1-61373-512-1

Page Count: 288

Publisher: Chicago Review Press

Review Posted Online: March 28, 2016

Kirkus Reviews Issue: April 15, 2016

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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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