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A WRITER’S HOUSE IN WALES

Occasionally predictable, often lyrical, always intriguing. (1 map, not seen)

Novelist, biographer, and travel-writer Morris (Trieste and the Meaning of Nowhere, p. 1006, etc.) describes her rustic Welsh home and endeavors to define and celebrate Welsh history, geography, personalities, and Weltanschauung.

Morris has lived for years in what was once a stone stable in a remote area of the remote principality of Wales. She and her partner Elizabeth (the woman Morris married years ago when she was James Morris) converted the building into a cozy home cum library that houses some 8,000 volumes and provides Morris with the resources for her writing and the stability she craves. She calls the house Trefan Morys (partly for the name of the estate to which the building once belonged, partly for the Welsh spelling of her surname). In four swift chapters, Morris composes a love-letter to Wales and to the people who live there—and, of course, to her own home. She writes passionately about the rugged landscape and its sturdy inhabitants and rues the steady incursions of “the dross of television and advertising, drugs, crime, general dumbing-down and sheer ordinariness.” She celebrates the centrality of the kitchen in Welsh homes and culture and praises her neighbors for their reliability and tolerance (she says that they simply pretend her 1972 sex-change operation never happened). Morris teaches us about the meaning of traditional Welsh symbols (the red dragon), about the significance of historical figures (Lloyd George pops in and out like an indecisive guest), and even speculates that America’s Mandan Indians have Welsh ancestry. She does not miss many opportunities to credit the Welsh—but she does miss two: She mentions Lawrence of Arabia without noting he was born in Wales and tells us a bit about Porthmadog without commenting on the nearby Great Embankment that enthralled Percy Bysshe Shelley. Morris is at her best when she examines how Wales has grounded her writing and has at the same time helped her appreciate the mysteries and marvels of the world.

Occasionally predictable, often lyrical, always intriguing. (1 map, not seen)

Pub Date: Jan. 1, 2001

ISBN: 0-7922-6523-8

Page Count: 168

Publisher: National Geographic

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Oct. 15, 2001

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NIGHT

The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the...

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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WHEN BREATH BECOMES AIR

A moving meditation on mortality by a gifted writer whose dual perspectives of physician and patient provide a singular...

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A neurosurgeon with a passion for literature tragically finds his perfect subject after his diagnosis of terminal lung cancer.

Writing isn’t brain surgery, but it’s rare when someone adept at the latter is also so accomplished at the former. Searching for meaning and purpose in his life, Kalanithi pursued a doctorate in literature and had felt certain that he wouldn’t enter the field of medicine, in which his father and other members of his family excelled. “But I couldn’t let go of the question,” he writes, after realizing that his goals “didn’t quite fit in an English department.” “Where did biology, morality, literature and philosophy intersect?” So he decided to set aside his doctoral dissertation and belatedly prepare for medical school, which “would allow me a chance to find answers that are not in books, to find a different sort of sublime, to forge relationships with the suffering, and to keep following the question of what makes human life meaningful, even in the face of death and decay.” The author’s empathy undoubtedly made him an exceptional doctor, and the precision of his prose—as well as the moral purpose underscoring it—suggests that he could have written a good book on any subject he chose. Part of what makes this book so essential is the fact that it was written under a death sentence following the diagnosis that upended his life, just as he was preparing to end his residency and attract offers at the top of his profession. Kalanithi learned he might have 10 years to live or perhaps five. Should he return to neurosurgery (he could and did), or should he write (he also did)? Should he and his wife have a baby? They did, eight months before he died, which was less than two years after the original diagnosis. “The fact of death is unsettling,” he understates. “Yet there is no other way to live.”

A moving meditation on mortality by a gifted writer whose dual perspectives of physician and patient provide a singular clarity.

Pub Date: Jan. 19, 2016

ISBN: 978-0-8129-8840-6

Page Count: 248

Publisher: Random House

Review Posted Online: Sept. 29, 2015

Kirkus Reviews Issue: Oct. 15, 2015

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