Inspirational, enlightening and, above all, enjoyable—a revealing window into the private world of consummate music making.

MY NINE LIVES

A MEMOIR OF MANY CAREERS AT THE KEYBOARD

The legendary American pianist recounts the many stages of his storied career.

With its soaring highs and sweeping lows, the story of Fleisher’s life, deftly unveiled here with the help of Washington Post classical music critic Midgette, is as grand as any symphony. Now in his 80s, the author began playing piano in San Francisco at age four, gave his first public recital at eight, debuted with the New York Philharmonic at 16, won the prestigious Queen Elisabeth competition in Brussels in 1952 and made seminal recordings of Brahms and Beethoven with George Szell and the Cleveland Orchestra in the ’50s and early ’60s. However, his meteoric rise as a world-class musician was abruptly halted in 1964, at age 36, when he lost the use of his fourth and fifth fingers on his right hand. What gives this tale a heroic edge is not just Fleisher’s triumphant return to the performance stage at age 66, but the fact that, during the 30-year interval while he grappled with “two fingers that wanted to make a fist all the time,” he refashioned himself, channeling his gargantuan interpretive gifts into becoming an accomplished conductor, arts administrator and teacher. He also gained renown as a specialist in left-handed repertoire, performing Ravel’s Piano Concerto for the Left Hand so often and well that Musical America named him 1994 Instrumentalist of the Year, two years before his right hand regained most of its former form. Though Fleisher provides an undoubtedly feel-good account, he also cautions readers. “If my story is about anything, it’s about being very careful when your dreams come true,” he writes, and he isn’t afraid to plumb darker moments, nor lightly gloss wayward attempts to overcome the emotional trauma resulting from sudden handicap. Fleisher’s humility and copious anecdotes involving many 20th-century musical lions, such as Schnabel, Klemperer, Szell and Bernstein, combine for a truly winning read.

Inspirational, enlightening and, above all, enjoyable—a revealing window into the private world of consummate music making.

Pub Date: Nov. 30, 2010

ISBN: 978-0-385-52918-1

Page Count: 240

Publisher: Doubleday

Review Posted Online: Sept. 27, 2010

Kirkus Reviews Issue: Oct. 15, 2010

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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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