Definitive in its scope and detail but somewhat too hagiographic.

PHILIP LARKIN

LIFE, ART AND LOVE

A scholar who has published previously about Philip Larkin (1922-1985) returns with a full-meal biography glowing with admiration.

Booth (Philip Larkin: The Poet’s Plight, 2005), who was for nearly two decades one of Larkin’s colleagues at the University of Hull, does not find a lot to dislike in this lushly detailed life. Where others have found fault, the author often begs to differ. In Larkin’s letters, for example, are occasional terms and phrases that many readers find racially offensive. Booth characterizes them as “performative riffs,” examples of Larkin’s linguistic posturing. After a defensive introduction (Larkin was neither a racist nor a misogynist), Booth proceeds in chronological fashion. We learn about Larkin’s parents (his mother lived until 1977), his lifelong passion for classic jazz (and, later, his unhappiness with John Coltrane and other more modern performers), his schooling and his off-and-on friendship with Kingsley Amis. Both were hopeful novelists, but when Amis’ Lucky Jim (1954) appeared and soared, Larkin, who had published a couple of novels in the mid-1940s, turned exclusively to poetry. Larkin became a librarian and held various positions throughout his life, jobs that enabled him to have time for his poetry, and his verse soon became both popular and honored. Booth spends many pages discussing individual poems, as well as the drafts Larkin recorded in his many workbooks. Most of these analyses are accessible, though we occasionally read something precious: “The hissing monosyllable ‘this’ with its high short vowel seems arrogant.” Booth also charts the poet’s intimate relationships with various women (Larkin sometimes maintained as many as three simultaneously). We read, too, about his jealous disdain for Ted Hughes (he preferred Sylvia Plath’s poetry), as well as his physical decline (including deafness) preceding the arrival of the cancer that killed him.

Definitive in its scope and detail but somewhat too hagiographic.

Pub Date: Nov. 4, 2014

ISBN: 978-1620407813

Page Count: 544

Publisher: Bloomsbury

Review Posted Online: Aug. 17, 2014

Kirkus Reviews Issue: Sept. 15, 2014

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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 19, 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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