A powerful and essential addition to our understanding of European history and culture.

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THE EUROPEANS

THREE LIVES AND THE MAKING OF A COSMOPOLITAN CULTURE

A prodigiously researched account of the spread of culture throughout the mid and late 19th century using three specific biographies to personalize the voluminous historical data.

Figes (History/Birkbeck Coll., Univ. of London; Revolutionary Russia, 1891-1991, 2014, etc.) returns with another astonishing work displaying his vast knowledge of art, music, literature, culture, and history. Wisely, he uses three people to embody much of his discussion: Russian writer Ivan Turgenev, French singer Pauline Viardot, and her husband, Louis, a political activist and literary figure. The author follows these three over the decades—Turgenev and Pauline had an intimate relationship that Louis tolerated—and through their stories, we see specific instances of the cultural changes Figes illuminates throughout the book. The growth of railways, the advances in photography and publication, the explosion in literary translations, the vast increase in literacy—these and other factors increased the development of a kind of common European culture that only the growth of nationalism, and the consequent wars, could weaken. “The arts played a central role in this evolving concept of a European cultural identity,” writes Figes. “More than religion or political beliefs, they were seen as uniting people across the Continent.” This necessitated the “recognition that any national culture is a result of a constant dialogue across state boundaries and of the assimilation of separate artistic traditions into a larger European world.” Turgenev and the Viardots traveled continually: She was a popular singer, and, initially, it was her financial success that supported her family. Later, her voice gone, it was Turgenev’s writing and generosity. In many ways, the text is a who’s who of the time period. Liszt, Dickens, Balzac, Hugo, George Sand, Chopin, Tolstoy, Flaubert—these and countless other icons move smoothly through the narrative, a rich mélange of tasty ingredients. There are some mild surprises, too: Mary Shelley briefly wanders in (we read Victor Frankenstein’s description of the Rhine), and Henry James makes some cameos.

A powerful and essential addition to our understanding of European history and culture.

Pub Date: Oct. 8, 2019

ISBN: 978-1-62779-214-1

Page Count: 688

Publisher: Metropolitan/Henry Holt

Review Posted Online: July 15, 2019

Kirkus Reviews Issue: Aug. 1, 2019

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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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A PEOPLE'S HISTORY OF THE UNITED STATES

For Howard Zinn, long-time civil rights and anti-war activist, history and ideology have a lot in common. Since he thinks that everything is in someone's interest, the historian—Zinn posits—has to figure out whose interests he or she is defining/defending/reconstructing (hence one of his previous books, The Politics of History). Zinn has no doubts about where he stands in this "people's history": "it is a history disrespectful of governments and respectful of people's movements of resistance." So what we get here, instead of the usual survey of wars, presidents, and institutions, is a survey of the usual rebellions, strikes, and protest movements. Zinn starts out by depicting the arrival of Columbus in North America from the standpoint of the Indians (which amounts to their standpoint as constructed from the observations of the Europeans); and, after easily establishing the cultural disharmony that ensued, he goes on to the importation of slaves into the colonies. Add the laborers and indentured servants that followed, plus women and later immigrants, and you have Zinn's amorphous constituency. To hear Zinn tell it, all anyone did in America at any time was to oppress or be oppressed; and so he obscures as much as his hated mainstream historical foes do—only in Zinn's case there is that absurd presumption that virtually everything that came to pass was the work of ruling-class planning: this amounts to one great indictment for conspiracy. Despite surface similarities, this is not a social history, since we get no sense of the fabric of life. Instead of negating the one-sided histories he detests, Zinn has merely reversed the image; the distortion remains.

Pub Date: Jan. 1, 1979

ISBN: 0061965588

Page Count: 772

Publisher: Harper & Row

Review Posted Online: May 26, 2012

Kirkus Reviews Issue: Jan. 1, 1979

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