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THE SELF-PORTRAIT OF A LITERARY BIOGRAPHER

Autobiography, like surgery, isn't for the fainthearted. Here, noted biographer Givner (English/University of Regina, Saskatchewan; Katherine Anne Porter, 1982, etc.) coolly dissects her own family, career, and—occasionally—herself. Declaring that ``the writing of an autobiography induces a last-will-and-testament frame of mind,'' Givner proceeds to tell her life story in numbered paragraphs that are as much vignettes as reflections. She recalls her English childhood in a lower-middle- class home where books were rare—the family didn't even own a dictionary—and where gardening and listening to the radio were major diversions. Home for Givner was a place where ``every act- -even the simplest one of eating a meal, choosing a helping of this over that—was subjected to criticism, moral disapproval.'' Her parents were ill-matched, she thinks, with her mother's lack of imagination particularly exasperating. Only the author's success at school proved an escape from a crippling relationship with her parents—particularly her success at college, where she met and married a rich American. Givner elliptically describes the later breakdown of the marriage; her continuing academic success in the US; her move to Canada, where she remarried and gave birth to two daughters; and her teaching career in Saskatchewan. Equally elliptically, she details how her dissertation on Katherine Anne Porter became a book and how she came to write the biography of popular Canadian novelist Mazo de la Roche. Now in her late 50s, Givner ends with an observation that abruptly and disconcertingly undercuts the vehemence of her earlier discontents: ``To go out of your native land and to leave your people is to sustain a great incurable wound.'' Well written, and certainly tart and opinionated, but too narrow and small-scale, offering no riveting insights into writing or even just living.

Pub Date: Jan. 1, 1994

ISBN: 0-8203-1552-4

Page Count: 192

Publisher: Univ. of Georgia

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Nov. 15, 1993

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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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