A stirring, inventive masterpiece of heartbreak.

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WHEN DEATH TAKES SOMETHING FROM YOU GIVE IT BACK

CARL'S BOOK

A memoir of the author’s struggle to find the words to mourn her son’s death.

On March 16, 2015, Aidt’s son, Carl, died after throwing himself out of a fifth-floor window; he had suffered a psychotic break after consuming psilocybin mushrooms. It takes a long time—nearly halfway through this slim, devastating book—for Danish poet and fiction writer Aidt (Rock, Paper, Scissors, 2015, etc.) to state those facts so plainly. But her sense of grief is present from the first page, and she deploys multiple rhetorical elements—poetry, literary criticism, journals, all-caps, exclamatory text—to reckon with her loss. She returns over and over to her memory of the phone call delivering the news, adding new details each time, as if bracing herself to express the fullness of the event. Between those moments, Aidt bemoans the impossibility of putting her feelings into words through run-on anger (“I hate writing don’t want to write anymore I’m writing burning hate my anger is useless a howling cry”), unusually structured poetic passages (“Panic like a geyser inside the body / shoots its poison-water / up / from underground / to / the reptilian brain”), and sober contemplation of other grief-struck books such as The Epic of Gilgamesh, Joan Didion’s Blue Nights, and Anne Carson’s Nox. The difficulty of articulating grief is itself a cliché of the grief memoir, but Aidt’s shattering of genre forms both underscores the feeling of speechlessness and gives it a palpable shape. (The book’s orthography bolsters that sense, playing with font sizes, line breaks, and italicization; translator Newman handles these rhetorical shifts with grace and clarity.) Carl’s death thrusted Aidt into a world where “nothing resonates or can be established, where nothing in the entire world is recognizable.” Yet this book is an alchemical feat, giving shape to the most profound sense of absence.

A stirring, inventive masterpiece of heartbreak.

Pub Date: Sept. 3, 2019

ISBN: 978-1-56689-560-6

Page Count: 152

Publisher: Coffee House

Review Posted Online: June 25, 2019

Kirkus Reviews Issue: June 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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