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CITY KID

A WRITER’S MEMOIR OF GHETTO LIFE AND POST-SOUL SUCCESS

Uneven but frequently engrossing.

George (The Accidental Hunter, 2005, etc.) chronicles his progression from an impoverished childhood to an accomplished career as a music journalist, novelist and filmmaker, with many stops along the way.

The author was born into a working-class black family in swiftly changing Brooklyn. It was 1957: White families were moving out to the suburbs; African-American and Puerto Rican families were moving in. George’s father was absent for much of his youth, and his hardworking mother served as his principal role model. The memoir serves up many images already shopworn from other coming-of-age stories set in New York during the ’60s and ’70s: stickball in the street, dancing to soul records, trading comic books, etc. George’s recollections often seem romanticized, with one notable exception. His colorful descriptions of pop, soul and jazz, the experience of listening to music and his reactions to it, always seem authentic, and they point a clear path to his career as a journalist. He developed his craft at Billboard, New York Amsterdam News and The Village Voice (his dream job). As the author chronicles his professional success, the book’s focus shifts to his relationships with an impressive, if lengthy, list of major black artists, including Russell Simmons, Spike Lee and Chris Rock, each of whom gets his own chapter. While these accounts provide a unique perspective on the development of African-American culture, they also fragment the text into choppy, piecemeal sections that abandon the subject of George’s family life. He attempts to bring things full circle with concluding chapters on Life Support, a film he directed about his sister’s battle with HIV, and a brief account of a family reunion at his niece’s graduation.

Uneven but frequently engrossing.

Pub Date: April 6, 2009

ISBN: 978-0-670-02036-2

Page Count: 250

Publisher: Viking

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Feb. 1, 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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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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