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DINO

LIVING HIGH IN THE DIRTY BUSINESS OF DREAMS

Flamboyantly overwritten, saddest celebrity bio of the past decade. Dino Crocetti—Steubenville, Ohio, son of Italian immigrants, and an easygoing, untrained singer with lip-lazy diction—became Dean Martin early in his work with local bands, made it big in Manhattan as a solo act, and went over the top when teamed with a monkey named Jerry Lewis. The keynote of Martin's delivery, explains Tosches (Cut Numbers, 1988, etc.), was a relaxedness directed toward males but that had the ladies following him to bed like groupie mayflies—while he attracted Mafia heavy-hitters as well. Martin's pal Frank Sinatra held him in awe and envied his ease with the Mafia cafe-owners, but Dino couldn't care less about power, or much of anything. He kept Sinatra, as well as his own wives and children—everyone in fact—at arm's length emotionally, and, Tosches indicates, never in his life let one person into his most secret heart. He seemed largely devoted to golf. Gradually, Martin, at first a moderate drinker, developed a drunk act that became too real and at last took him over. After many years as the top draw on TV, he wound up hosting his celebrity roasts, a kind of gathering of the dead assembled from thousands of small splices of film. Martin is still alive, but a shadow in a breeze, withdrawn into watching westerns on TV. Tosches tells his story in a Niagara of grossness that at once strives for literary excellence while often falling into garble: ``The very songs that Sinatra and Dean sang...inspired lavish squandering among the countless men who would be them. It was the Jew-roll around the prick that rendered them ithyphallic godkins, simulacra of the great ones, in their own eyes and in the eyes of the tease-haired lobster-slurping bimbo sapiens they sought to impress.'' One-hundred-proof prose at its most scorching, and it will melt cash registers. (Thirty b&w photographs—not seen.)

Pub Date: July 1, 1992

ISBN: 0-385-26216-7

Page Count: 464

Publisher: Doubleday

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: May 1, 1992

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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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