An honest, self-deprecating, and very moving account of a writer searching for herself in words.

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IN OTHER WORDS

In a perfectly titled memoir, the Pulitzer Prize–winning novelist chronicles her efforts to learn and write Italian.

Lahiri (The Lowland, 2013, etc.), who wrote and published her text in Italian in 2015, now presents an English translation (by Goldstein) with Italian and English on facing pages. For Lahiri, Italian was her third language—her mother spoke Bengali—and she relates in engaging detail the reasons she felt drawn to Italian, her many difficulties learning it, her struggles with writing, and her move to Rome to write. As she acknowledges near the end, and suggests elsewhere, her work is thick with metaphor; continually, she tries to find effective comparisons. A swim across a lake, an avalanche, a mountain-climb, a journey, a map, a bridge, maternity—these and numerous others describe her learning and her difficulties. A most affecting later chapter, “The Wall,” deals with a discomfort felt (and caused) by many: Lahiri doesn’t “look” Italian, so Romans and others treated her oddly, even insultingly, at times. She notes that similar experiences happened in the United States. Even though she’s known English since childhood—and has written award-winning novels in the language—some Americans look at her with a kind of mistrust. Lahiri does not ever get too detailed about the specifics of her learning, although there are paragraphs about vocabulary, grammar, and pronunciation. She is more interested in the effects of all of this on her writing and on her identity. Her memoir is also chockablock with memorable comments about writing and language. “Why do I write?” she asks. “To investigate the mystery of existence. To tolerate myself. To get closer to everything that is outside of me.” At the end, she returns to America but wonders if she will now write again in English.

An honest, self-deprecating, and very moving account of a writer searching for herself in words.

Pub Date: Feb. 9, 2016

ISBN: 978-1-101-87555-1

Page Count: 256

Publisher: Knopf

Review Posted Online: Nov. 1, 2015

Kirkus Reviews Issue: Nov. 15, 2015

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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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