THE VOICE IS ALL

THE LONELY VICTORY OF JACK KEROUAC

An exemplary biography of the Beat icon and his development as a writer.

With unprecedented access to the New York Public Library’s extensive Berg Collection of Kerouac artifacts, Johnson (Missing Men, 2005, etc.) tells the familiar story of the rise of the reluctant “king of the Beats” through the unfamiliar lens of his notebooks, manuscripts and correspondence with family, friends, lovers, editors and writers. The collection was unavailable to scholars for three decades, and access to it is still tightly controlled by the Kerouac estate. Johnson uses her opportunity as a pioneer in this new era of Kerouac scholarship to turn a laser-sharp focus on Kerouac’s evolving ideas about language, fiction vs. truth and the role of the writer in his time. She ends her chronology in late 1951, as Kerouac found the voice and method he’d employ for the rest of his brief career while seeking a publisher for On the Road and working on the novel he considered his masterpiece, Visions of Cody. While still detailing the chaotic and occasionally tragic events of the writer’s life—from mill-town football hero to multiply divorced dipsomaniac mama’s boy/cult idol—Johnson’s focus allows her to trace a trajectory of success rather than follow his painfully familiar decline into alcoholism and premature death. “[T]o me,” she writes, “what is important is Jack’s triumph in arriving at the voice that matched his vision.” Of perhaps most interest was her discovery of just how important his French-Canadian heritage was to Kerouac’s sense of identity. He considered its earthy patois his native language and seems to have translated his thoughts from it into the muscular English with which he’s associated. There’s plenty of life in these pages to fascinate casual readers, and Johnson is a sensitive but admirably objective biographer.

A triumph of scholarship.

Pub Date: Sept. 18, 2012

ISBN: 978-0-670-02510-7

Page Count: 512

Publisher: Viking

Review Posted Online: Aug. 1, 2012

Kirkus Reviews Issue: Aug. 15, 2012

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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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