Disturbing social history in the form of a fast-paced thriller.

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L.A. '56

A DEVIL IN THE CITY OF ANGELS

True-crime story of rape and racism in postwar Los Angeles.

The narrative has all the elements of a classic film noir and then some: a handsome detective who falls for a beautiful crime victim who narrowly escapes the clutches of a monstrous rapist; the innocent man, railroaded into jail for a capital crime he didn’t commit by the prejudiced police of a corrupt city; a surprise ending with a stakeout and shootout that brings about justice in the end. But this being a story based on real life, the epilogue is not so tidy, least of all for the railroaded suspect, an African-American ex-cop who’d been forced out of the department for dating a white woman. In the summer of 1956, Los Angeles was in the thrall of a serial rapist who trolled lovers’ lanes in tonier districts with a toy sheriff’s badge and a flashlight. He would interrupt young lovers, flash his badge and threaten to arrest the couple for vice crimes. Then he would deposit the young man a few blocks away and return for his prey. On his trail was the talented detective Danny Galindo, a Mexican-American war hero and friend of Dragnet’s Jack Webb, who would feed him the occasional story line. (“Give it to Galindo,” a catchphrase on the show, was Webb’s way of tipping his hat to his LAPD pal.) Galindo worked on some of the city’s most notorious crimes, from the Black Dahlia to the Manson Family murders, but he was particularly proud of this case in which he freed an innocent man and found true love. Engel (Gene Roddenberry: The Myth and the Man Behind Star Trek, 1994, etc.) gets in the head of the rapist, which may be taking liberties with the facts, but it makes for a riveting, novelistic read.

Disturbing social history in the form of a fast-paced thriller.

Pub Date: April 10, 2012

ISBN: 978-0-312-59194-6

Page Count: 320

Publisher: Dunne/St. Martin's

Review Posted Online: March 13, 2012

Kirkus Reviews Issue: April 1, 2012

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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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A PEOPLE'S HISTORY OF THE UNITED STATES

For Howard Zinn, long-time civil rights and anti-war activist, history and ideology have a lot in common. Since he thinks that everything is in someone's interest, the historian—Zinn posits—has to figure out whose interests he or she is defining/defending/reconstructing (hence one of his previous books, The Politics of History). Zinn has no doubts about where he stands in this "people's history": "it is a history disrespectful of governments and respectful of people's movements of resistance." So what we get here, instead of the usual survey of wars, presidents, and institutions, is a survey of the usual rebellions, strikes, and protest movements. Zinn starts out by depicting the arrival of Columbus in North America from the standpoint of the Indians (which amounts to their standpoint as constructed from the observations of the Europeans); and, after easily establishing the cultural disharmony that ensued, he goes on to the importation of slaves into the colonies. Add the laborers and indentured servants that followed, plus women and later immigrants, and you have Zinn's amorphous constituency. To hear Zinn tell it, all anyone did in America at any time was to oppress or be oppressed; and so he obscures as much as his hated mainstream historical foes do—only in Zinn's case there is that absurd presumption that virtually everything that came to pass was the work of ruling-class planning: this amounts to one great indictment for conspiracy. Despite surface similarities, this is not a social history, since we get no sense of the fabric of life. Instead of negating the one-sided histories he detests, Zinn has merely reversed the image; the distortion remains.

Pub Date: Jan. 1, 1979

ISBN: 0061965588

Page Count: 772

Publisher: Harper & Row

Review Posted Online: May 26, 2012

Kirkus Reviews Issue: Jan. 1, 1979

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