Tobacco chaw and human weighings by a professor of English (Texas Christian Univ.) who wonders whether he exists, and who finds the greater public crises of past decades writ small in his own life. Corder is a kind of down-home Kafka whose fingers skim the air in hopes of netting some pollen from a phantasmal 20th-century life. His clear, uncluttered style never tires the reader, though one keeps waiting for a more passionate quickening. Vague confessions arise: ``Perhaps I am the twentieth century, mostly shallow, mostly superficial, incapable of great art or much of anything, genuinely, thoroughly mediocre, watching at a distance as the trivial becomes monstrous, the monstrous trivial.'' One palpates such writing for feeling beyond word play, and it's not always there. Even so, Corder unearths enough of his heart to keep us hungry for some big dish that may lie ahead. What we get are linked epiphanies, daisy chains of homecomings for a Ulysses who never left. Every great change, Corder finds, brings nostalgia in its wake, and he charts his own sighs as wave-patterns in the culture. One sigh springs from his own deconstruction: ``Language is orphaned from its speaker'' and lodges ``in the perceiving minds of readers....Authors...now fade away into nothing.'' We win such small leavings, he warns. ``Can I get a witness? Can you? Can she, or he? In texts that are absent?'' Through haze, Corder finds himself in childhood comic books, road maps, snapshots, the Depression, the Lux Radio Theater, the Holocaust—and in forlorn thoughts of a daughter now far off, whose skin temperature he traces daily in weather reports. Subliminal grieving for a life lived in ribs of dust.
Pub Date: Aug. 1, 1992
ISBN: 0-8203-1419-6
Page Count: 256
Publisher: Univ. of Georgia
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 1, 1992
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
An autobiography as toxic and addictive as any drug its author has ever ingested.
The legendary booze-addled metal rocker turned reality-TV star comes clean in his tell-all autobiography.
Although brought up in the bleak British factory town of Aston, John “Ozzy” Osbourne’s tragicomic rags-to-riches tale is somehow quintessentially American. It’s an epic dream/nightmare that takes him from Winson Green prison in 1966 to a presidential dinner with George W. Bush in 2004. Tracing his adult life from petty thief and slaughterhouse worker to rock star, Osbourne’s first-person slang-and-expletive-driven style comes off like he’s casually relating his story while knocking back pints at the pub. “What you read here,” he writes, “is what dribbled out of the jelly I call my brain when I asked it for my life story.” During the late 1960s his transformation from inept shoplifter to notorious Black Sabbath frontman was unlikely enough. In fact, the band got its first paying gigs by waiting outside concert venues hoping the regularly scheduled act wouldn’t show. After a few years, Osbourne and his bandmates were touring America and becoming millionaires from their riff-heavy doom music. As expected, with success came personal excess and inevitable alienation from the other members of the group. But as a solo performer, Osbourne’s predilection for guns, drink, drugs, near-death experiences, cruelty to animals and relieving himself in public soon became the stuff of legend. His most infamous exploits—biting the head off a bat and accidentally urinating on the Alamo—are addressed, but they seem tame compared to other dark moments of his checkered past: nearly killing his wife Sharon during an alcohol-induced blackout, waking up after a bender in the middle of a busy highway, burning down his backyard, etc. Osbourne is confessional to a fault, jeopardizing his demonic-rocker reputation with glib remarks about his love for Paul McCartney and Robin Williams. The most distinguishing feature of the book is the staggering chapter-by-chapter accumulation of drunken mishaps, bodily dysfunctions and drug-induced mayhem over a 40-plus-year career—a résumé of anti-social atrocities comparable to any of rock ’n’ roll’s most reckless outlaws.
An autobiography as toxic and addictive as any drug its author has ever ingested.Pub Date: Jan. 25, 2010
ISBN: 978-0-446-56989-7
Page Count: 320
Publisher: Grand Central Publishing
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 1, 2009
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