Radiant prose, palpable descriptions, and deep empathy for the poet’s sensibility make this biography extraordinary.

THESE FEVERED DAYS

TEN PIVOTAL MOMENTS IN THE MAKING OF EMILY DICKINSON

The reclusive American poet emerges vividly in an imaginative examination of her life.

The subject of many biographies, critical studies, and a one-woman show, as well as the protagonist of several novels, Emily Dickinson (1830-1886) has remained an enigmatic figure: a shy wraith, dressed in white, refusing to allow publication of her poems—nearly 2,000, discovered after her death. Guggenheim fellow Ackmann (Curveball: The Remarkable Story of Toni Stone, 2010, etc.), who has taught a Dickinson seminar at Mount Holyoke College, persuasively counters that view with a fresh approach to Dickinson’s life and work. Focusing on 10 turning points, she creates in each chapter “a snapshot” of that moment “with the past in dissolve like a multiple exposure.” Drawing largely on Dickinson’s poems and letters, the author portrays the young Emily, surrounded by family, corresponding with friends, growing into self-awareness of her creativity. “She wanted to understand the particles of moments that others could not see or grasped with a faith she found too easy,” writes Ackmann. When she was pressed about her religious conviction, Dickinson admitted doubt: “I both believe and disbelieve a hundred times an Hour.” Her poetry, though, probed the ineffable, aiming for “evanescence like the brilliance of lightning, the flash of truth, or a transport so swift it felt like flight.” By the time Dickinson boldly sent four poems to Atlantic editor Thomas Wentworth Higginson, she was composing nearly a verse a day: “My business is to sing,” she announced. Even more than her sister-in-law, among the few with whom Dickinson shared her poems, Higginson recognized, admired, and nurtured Dickinson’s “strange power.” Perhaps, he wrote to her, “if I could once take you by the hand I might be something to you.” After eight years of corresponding, when they finally met, Dickinson effusively confided in him intimate details about her family, poetry, and dreams. Afterward, she felt “elated, emboldened, and slightly off-kilter.” As for Higginson, her intellectual intensity exhausted him.

Radiant prose, palpable descriptions, and deep empathy for the poet’s sensibility make this biography extraordinary.

Pub Date: Feb. 25, 2020

ISBN: 978-0-393-60930-1

Page Count: 288

Publisher: Norton

Review Posted Online: Oct. 23, 2019

Kirkus Reviews Issue: Nov. 15, 2019

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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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