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STORIES MY FATHER TOLD ME

NOTES FROM "THE LYONS DEN"

A veritable storm of outtakes from Leonard Lyons’ “Lyons Den” society column from the New York Post, which dazzle rather than titillate.

Lyons wrote his column for exactly 40 years, from 1934 to 1974—six columns a week, tallying 12,479 at 1,000 words each—about people in the public eye. He would leave for work as the sun went down, heading for a variety of hot spots—Toots Shor’s, Downey’s, Sardi’s, El Morocco, the Stork Club, the Little Club, or all of them—gathering choice items for his readership. “Leonard Lyons genuinely admired the people he wrote about,” writes Charles Osgood in the foreword. “And knowing this they would open up to him and tell him the colorful stories that were his bread and butter.” Here, his son, TV and movie critic Jeffrey Lyons, sews together pieces from his father’s columns into vest-pocket profiles of the famous, from Irving Berlin to Shelly Winters. For those who have never dined on Lyons’ work, this collection is a treat: Lyons was a champion at getting telling quotes, material as pithy and vivid as the Algonquin Round Table—e.g., Lauren Bacall’s response to whether she would curtsy to Prince Philip: “If he curtsies to me, I’ll curtsy to him. In this world, you get what you give.” Or Joe DiMaggio: “Never wake a ballplayer on a rainy morning.” There are terrific comments from a stunning range of characters—Einstein, Rocky Marciano, Groucho Marx, Chagall—and if Lyons can seem a bit eager and star-struck (“There was never anyone like Oscar Levant”; “Orson Welles…the most amazing person you’d ever meet”), he takes such obvious pleasure in the telling that readers will be swept along with him. An intoxicating selection of snippets from a columnist that journalist Pete Hamill called “an ornament to the profession.”  

 

Pub Date: June 1, 2011

ISBN: 978-0-7892-1102-6

Page Count: 336

Publisher: Abbeville Press

Review Posted Online: April 5, 2011

Kirkus Reviews Issue: April 15, 2011

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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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