One of the more insightful and inspirational of the recent glut of showbiz memoirs.

THE ELEPHANTS IN MY BACKYARD

A MEMOIR

A young actor loses a great role but finds a wonderful story to share.

Surendra might best be known through a memorable supporting role in Mean Girls, but this debut shows a real gift for writing, likely one that has been shaped by the story it relates. While still a student in Canada, the son of Tamil immigrants from India landed a role that would change his life—that of the rapping Kevin Gnapoor in the Tina Fey film starring Lindsay Lohan that would far exceed all expectations as a cult favorite. While shooting that movie, a cameraman strongly recommended the popular novel Life of Pi, and Surendra discovered a host of remarkable similarities between himself and the young Indian boy cast adrift on the sea. Then he learned that the novel was being adapted into a movie, and he devoted himself to landing the lead role. He traveled to India, immersed himself in the locations referenced in the novel, initiated a correspondence with novelist Yann Martel, and conquered his fear of water and learned to swim. Surendra even turned down an offer for regular work on a series to pursue the Life of Pi role. However, as Martel advised him, “it’s in the hands of Vishnu and Hollywood.” Early signs looked promising, as “the only notable brown director in Hollywood was attached—M. Night Shyamalan, of The Sixth Sense fame.” Alas, Shyamalan was only the first of many to be involved, and the process went on and on. Though many readers will know that the part went to someone else, the author’s determination was rewarded in different fashion: through what he learned about himself and the “salvation” he experienced. He remains an actor, but he has also established a successful commercial calligraphy business, and this book shows that he is an accomplished writer as well.

One of the more insightful and inspirational of the recent glut of showbiz memoirs.

Pub Date: Nov. 8, 2016

ISBN: 978-1-68245-050-5

Page Count: 304

Publisher: Regan Arts

Review Posted Online: Sept. 20, 2016

Kirkus Reviews Issue: Oct. 1, 2016

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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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