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ANTON CHEKHOV

A BROTHER’S MEMOIR

A work invaluable for what it says, frustrating for what it does not.

The first English translation of the desultory, digressive recollections—originally published in 1933—of the youngest brother of the celebrated playwright, novelist and short-story writer.

Anton Pavlovich Chekhov, who died of tuberculosis in 1904, grew up in a family that struggled to survive and lived apart for a time while the father looked for work in Moscow after departing the countryside, where his family had risen from serfdom. Eventually, the artistic, intellectual family reassembled, and the boys, though struggling financially, found ways to pay for their educations. Anton became a physician, a profession he never completely surrendered, and then the writer whose stories and plays continue to delight and illuminate. The text here is nothing like a contemporary memoir. There is very little about anyone’s inner life—even Anton’s marriage occurs offstage in several swift sentences—and the author, though he proceeds chronologically, pauses often to append asides on a variety of subjects, including visitors to their house or his own struggles and successes as a writer. He sometimes gets dates and places wrong—the translator makes corrections in the endnotes—and avoids analysis of Anton’s work. He does tell the story of an actual shooting of a seagull that may have been the genesis of that eponymous play, and talks about how Anton met with Tolstoy—but nothing about what occurred. Still, there are memorable images that give us a taste of what a frisky, playful prankster Anton was before TB struck him down. He once went fishing with a friend in formal tails and top hat; he startled another sleeping friend with a flashlight in the face; he kept a pet mongoose that alarmed visitors.

A work invaluable for what it says, frustrating for what it does not.

Pub Date: Jan. 1, 2010

ISBN: 978-0-230-61883-1

Page Count: 256

Publisher: Palgrave Macmillan

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: Oct. 15, 2009

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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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  • Pulitzer Prize Finalist

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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