This nifty popular history spotlights the interrelated careers of the Georgian era’s two most notorious good-for-nothings: Jonathan Wild and Jack Sheppard. We’ve all heard about the London of Swift and Defoe in all its fashionable tawdriness: the endemic gin drinking, the crime, and the depravity. But many readers will be surprised to learn that, lacking an organized police force, wronged citizens of this time were themselves responsible for bringing criminals to trial. Master of this thieves’ universe was Wild, a “past-master in the art of self-promotion,” arrogant, egotistical, the subject of a biography written by Defoe. Moore retells the saga of Wild’s apprenticeship in crime and how he came to make his living as an intermediary between the criminal underworld and its victims, taking a fee for returning stolen goods and, on occasion, for turning in to the authorities—again, at a nice profit—those crooks who had earned his ill-will. Says Moore of Wild and his pas de deux with such individuals as Sheppard, a housebreaker: “Wild knew as much about their actions as they did, and they learned not to disobey or deceive him.” The rebellious Sheppard’s ascendant career would be closely tied with Wild’s eventual downfall, and Moore’s story really takes off in its second half with the telling of Sheppard’s several audacious prison breaks. Illustrations from Hogarth’s contemporaneous engravings give a fitting illustration to Moore’s detailed narrative. She also provides a breezy overview of law and penal codes in a society that made up for its lack of policing by decreeing but one penalty, death by hanging, for a range of crimes from petty robbery to murder. Moore’s debut employs these endearing rogues’ biographies as occasion for an extended overview of London’s wild and woolly street culture. The result is edifying, richly colorful, and, at times, enthralling.
Pub Date: Aug. 29, 1998
ISBN: 0-15-100364-5
Page Count: 320
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 1, 1998
A moving meditation on mortality by a gifted writer whose dual perspectives of physician and patient provide a singular...
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
PERSPECTIVES
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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