An unconventional and fascinating portrait of Soul Brother No. 1 and the significance of his rise and fall in American...

KILL 'EM AND LEAVE

SEARCHING FOR THE REAL JAMES BROWN

National Book Award winner McBride (The Good Lord Bird, 2013, etc.) dissects the career, legacy, and myth of the Godfather of Soul.

One of the most iconic figures in pop music, James Brown (1933-2006) is also one of the most unknown and falsely represented figures in American cultural history. Taking the recent biopic based on his life as an example, McBride shows how Brown’s late-career downward spiral into drug abuse, erratic behavior, and jail time is exaggerated and how it overshadows his legacy as a hardworking and dedicated singer who was a positive cultural force. Part of this misrepresentation was caused by the mystery of Brown, which he perpetuated during his lifetime. As the author points out, Brown was constantly on the run from himself, careful never to reveal too much of his personality in public or private. As Brown put it to his young protégé Al Sharpton, “come important and leave important.” McBride traces Brown’s philosophy of “keeping ’em guessing” through his upbringing in rural South Carolina and Georgia and back to a telling myth of a local ancestor. As the author sums it up: “you can’t understand Brown without understanding that the land that produced him is the land of masks.” Anecdotes and digressions are the preferred narrative mode for McBride, as he eschews an overarching, linear structure in favor of the rhythm of vignettes. Through his adventures to uncover the “real” Brown, there is significantly little discussion of Brown’s musical career; instead, the author focuses on the people around him and the defining moments of his life outside the spotlight. But for McBride, the story of Brown is the story of money and greed—not on Brown’s part, who put his $100 million estate toward the education of poor children, but of his heirs and family members who have tied up that money in years of litigation.

An unconventional and fascinating portrait of Soul Brother No. 1 and the significance of his rise and fall in American culture.

Pub Date: April 5, 2016

ISBN: 978-0-8129-9350-9

Page Count: 256

Publisher: Spiegel & Grau

Review Posted Online: Jan. 26, 2016

Kirkus Reviews Issue: Feb. 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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