Still, this compensates for its frail artistry with hustle, intelligence, and passion for the game.

MY LOSING SEASON

The author of overlong novels (Beach Music, 1995, etc.) returns with an overlong memoir of his last season (1966–67) as an overachieving point guard for the Citadel’s mediocre basketball team (8–17).

Conroy can be entertaining and endearingly self-effacing. In this autobiography of a roundballer, he reminds us from the first sentence to the last that he was among the least talented players on his or any other team. Still, he was all-state in high school and won the Citadel’s MVP award with his (self-described) hustle, intelligence, and passion for the game. Here he gives us dribble-by-dribble accounts of some significant basketball moments from elementary school through his final college game, and he interviews his former coach and teammates, several of whom came to see him when he was on tour promoting Beach Music. Some of their stories are affecting, none more so than that of Al Kroboth, a POW during the Vietnam War. Looming large are coach Mel Thompson, whose bullying tactics, Conroy alleges, ruined the careers of some of the players, and—no surprise—the author’s late father, a softened version of whom was the Marine meanie in The Great Santini. Don Conroy appears here as the quintessential crude abuser who slugs and slaps his son in the face, demeans his talents, calls him a “pussy,” but somehow experiences an epiphany after reading Santini and becomes a Nice Guy (“the great miracle of my adult life,” avows his son) whose bruised children grieve at his passing. Conroy is not an especially gifted writer, nor always even a careful one. He tells us that his college English professor taught him to avoid dangling participles and verb-subject agreement errors, but he makes both mistakes here and for good measure throws in a pronoun-case error and a lockerful of sports clichés, mixed metaphors, and sexist language (all women are “pretty” or not).

Still, this compensates for its frail artistry with hustle, intelligence, and passion for the game.

Pub Date: Oct. 15, 2002

ISBN: 0-385-48912-9

Page Count: 304

Publisher: Nan A. Talese

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Aug. 1, 2002

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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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