On the whole, a generous, revealing, honest account.
An inspiring story of life behind bars.
In 1988, Trounstine began to teach acting to a group of women inmates at a Massachusetts prison. She began tentatively, an oddball experiment in a hard-to-crack place, but her attempts were successful: not only did she learn, as the old saw goes, that the teacher learns as much from her students as they learn from her, she realized that even in jail, theater can transform lives. The Taming of the Shrew moves Kit to think about the lover she would have followed anywhere (until, “kaboom,” he left her). Gloria complains that Shakespeare is “white man’s theater” (Trounstine suggests that it’s not, as long as a mixed-race group of women are performing it). Dolly, moved by The Merchant of Venice and its pound of flesh, says she would die for a friend. Rose connects with Shylock—after reciting his famous monologue, she says that she knows he is hurt, even though he is trying to cover up his pain with anger. Bertie plays Bianca in The Taming of the Shrew, and afterwards she writes in her journal, “I know now I am somebody.” We learn not only what the women think of Shakespeare, but also what they think of their prison lives. Dolly goes to Shattuck (Boston’s hospital for the incarcerated) for a breast exam, but, after spending all day in a holding cell, she never gets to see a doctor. And we learn some shocking details about the inmates themselves: the beautiful, sassy, Jamaican Bertie (whose journal entries occasionally sound like Emily Dickinson) killed her four-month-old baby. Occasionally Trounstine descends into pop-psychology victimization (the women here were invariably hurt by a “society that favors others”), but for the most part she is clearheaded and unsentimental.
On the whole, a generous, revealing, honest account.Pub Date: Feb. 1, 2001
ISBN: 0-312-24660-9
Page Count: 256
Publisher: St. Martin's
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 15, 2000
For Howard Zinn, long-time civil rights and anti-war activist, history and ideology have a lot in common. Since he thinks that everything is in someone's interest, the historian—Zinn posits—has to figure out whose interests he or she is defining/defending/reconstructing (hence one of his previous books, The Politics of History). Zinn has no doubts about where he stands in this "people's history": "it is a history disrespectful of governments and respectful of people's movements of resistance." So what we get here, instead of the usual survey of wars, presidents, and institutions, is a survey of the usual rebellions, strikes, and protest movements. Zinn starts out by depicting the arrival of Columbus in North America from the standpoint of the Indians (which amounts to their standpoint as constructed from the observations of the Europeans); and, after easily establishing the cultural disharmony that ensued, he goes on to the importation of slaves into the colonies. Add the laborers and indentured servants that followed, plus women and later immigrants, and you have Zinn's amorphous constituency. To hear Zinn tell it, all anyone did in America at any time was to oppress or be oppressed; and so he obscures as much as his hated mainstream historical foes do—only in Zinn's case there is that absurd presumption that virtually everything that came to pass was the work of ruling-class planning: this amounts to one great indictment for conspiracy. Despite surface similarities, this is not a social history, since we get no sense of the fabric of life. Instead of negating the one-sided histories he detests, Zinn has merely reversed the image; the distortion remains.
Pub Date: Jan. 1, 1979
ISBN: 0061965588
Page Count: 772
Publisher: Harper & Row
Review Posted Online: May 26, 2012
Kirkus Reviews Issue: Jan. 1, 1979
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
A moving meditation on mortality by a gifted writer whose dual perspectives of physician and patient provide a singular...
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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