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SHOTGUNS AND STAGECOACHES

THE BRAVE MEN WHO RODE FOR WELLS FARGO IN THE WILD WEST

Though clearly for Old West buffs, this is an enjoyable excursion.

A rip-roaring history of moving the mail in the wildest of the Wild West days.

As fans of Westworld know, it was big money that made the buckboards bounce and the transcontinental railroad chug from coast to coast. One big-money engine was Wells Fargo, the banking concern founded in the gold rush era by two owners of the American Express company in New York who saw in California the possibility of riches in moving wealth—literally—for other people. Thus it is, writes lawyer and former police officer Boessenecker (Texas Ranger: The Epic Life of Frank Hamer, the Man Who Killed Bonnie and Clyde, 2016, etc.), that “In the popular imagination, Wells Fargo is inextricably linked to stagecoaches.” Put a stagecoach or train driver and a shotgun together, stick a cash box onboard, and you’ll get robbers. The formula affords the author the opportunity to parade a catalog of good guys and bad guys across the story. Early on comes the admirable Wells Fargo pioneering rider Chips Hodgkins, who ran away from home, became an apprentice to a shipwright, and then moved to California to carry millions of dollars in gold over the course of a four-decade career. “He was so scrupulously honest,” writes Boessenecker, “that is was commonly said of him, ‘No man in the United States ever actually handled more money than he did, but not a nickel of it ever stuck to his fingers.’" Not so the likes of the desperado named “Rattle Jack,” who, shot to pieces in a robbery attempt, begged his fellow outlaws to kill him. They obliged, “and after tying a rope to his neck to make it look like he had been lynched, they tossed his body into the Russian River.” Also figuring in these pages are Wells Fargo lawmen like Jeff Milton, tough railroaders like Aaron Ross, and unsung bad guys like Ormus B. Nay. It’s a readable if old-fashioned exercise in criminal yarn spinning.

Though clearly for Old West buffs, this is an enjoyable excursion.

Pub Date: Oct. 30, 2018

ISBN: 978-1-250-18488-7

Page Count: 368

Publisher: Dunne/St. Martin's

Review Posted Online: July 30, 2018

Kirkus Reviews Issue: Aug. 15, 2018

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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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