Intellectually stimulating but self-aggrandizing—a portrait of the artist in portraits of other artists.
An experimental memoir told in a series of biographical sketches of the author’s friends and colleagues.
In his latest book, Meyers (Robert Lowell in Love, 2016, etc.) attempts to revive appreciation for 14 underrecognized writers, artists, and scholars. Composed of short profiles on authors like Phillip Knightley and Paul Theroux, the book provides an insider’s view of their personal and professional lives. Drawn from “learned gatherings” and the author’s lengthy correspondence with his subjects, the narrative consists of intriguing, brief portraits, rendering each into “a colorful legend among the colorless academic drudges” (about critic Donald Greene). In the first section, Meyers focuses on his personal acquaintances, and the second features essays on five inspirational men he wishes he could have met—e.g., scholar and Russian spy Anthony Blunt. Meyers appears prominently throughout his book; while the texts are meant to honor these artists and exalt their histories and bibliographies, they transform into recurring reflections of Meyers and what his subjects think of him. It’s a brilliant way for a biographer to finally write about himself, although the author frequently revels in his own praise. The all-male focus feels old-fashioned, as does the author’s “interest in masculine writers” and love of gossip (many profiles recount affairs and other sordid morsels). Meyers is frequently “eager to win his [subject’s] respect,” and he seeks relationships based on a mutual intellectual appreciation. He mentions his search for an “ideal father figure” throughout the book, but he rarely moves past his own reflection. On Hugh Gordon Porteus, Meyers explains Porteus “was delighted to be rediscovered by me.” Later, the author recounts his “treasured” friendship with James Salter through dinner-party anecdotes and snippets of their storied intellectual discourse. He circles around self-affirming details like how “Jim inscribed twenty-six various editions of his books for [him]” and even shares “the three best” dedications (inscribed in Salter’s A Sport and a Pastime: “To Jeffrey. Represents, I think, the apogee”).
Intellectually stimulating but self-aggrandizing—a portrait of the artist in portraits of other artists.Pub Date: Oct. 9, 2018
ISBN: 978-0-8139-4168-4
Page Count: 240
Publisher: Univ. of Virginia
Review Posted Online: July 30, 2018
Kirkus Reviews Issue: Aug. 15, 2018
This moving, potent testament might have been titled “Black Lives Matter.” Or: “An American Tragedy.”
The powerful story of a father’s past and a son’s future.
Atlantic senior writer Coates (The Beautiful Struggle: A Father, Two Sons, and an Unlikely Road to Manhood, 2008) offers this eloquent memoir as a letter to his teenage son, bearing witness to his own experiences and conveying passionate hopes for his son’s life. “I am wounded,” he writes. “I am marked by old codes, which shielded me in one world and then chained me in the next.” Coates grew up in the tough neighborhood of West Baltimore, beaten into obedience by his father. “I was a capable boy, intelligent and well-liked,” he remembers, “but powerfully afraid.” His life changed dramatically at Howard University, where his father taught and from which several siblings graduated. Howard, he writes, “had always been one of the most critical gathering posts for black people.” He calls it The Mecca, and its faculty and his fellow students expanded his horizons, helping him to understand “that the black world was its own thing, more than a photo-negative of the people who believe they are white.” Coates refers repeatedly to whites’ insistence on their exclusive racial identity; he realizes now “that nothing so essentialist as race” divides people, but rather “the actual injury done by people intent on naming us, intent on believing that what they have named matters more than anything we could ever actually do.” After he married, the author’s world widened again in New York, and later in Paris, where he finally felt extricated from white America’s exploitative, consumerist dreams. He came to understand that “race” does not fully explain “the breach between the world and me,” yet race exerts a crucial force, and young blacks like his son are vulnerable and endangered by “majoritarian bandits.” Coates desperately wants his son to be able to live “apart from fear—even apart from me.”
This moving, potent testament might have been titled “Black Lives Matter.” Or: “An American Tragedy.”Pub Date: July 8, 2015
ISBN: 978-0-8129-9354-7
Page Count: 176
Publisher: Spiegel & Grau
Review Posted Online: May 5, 2015
Kirkus Reviews Issue: July 1, 2015
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
BOOK TO SCREEN
BOOK TO SCREEN
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.
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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