No fool for Hollywood, Variety reporter Hofler gets off a lot of good lines as he tells this familiar tale of Hollywood gays...

THE MAN WHO INVENTED ROCK HUDSON

THE PRETTY BOYS AND DIRTY DEALS OF HENRY WILLSON

Bedroom journalism about a Hollywood talent agent who—surprise!—shaped actors’ careers in return for sex.

Truck driver Roy Fitzgerald had bad teeth and used bad grammar. But the tall hunk also had a great face and great pecs. Agent Henry Willson played a hunch that someone with Fitzgerald’s all-American image would excite audiences who, after World War II, liked their men heroic and brawny. Willson had the actor’s teeth fixed and gave him an iconic name, Rock Hudson. A block of oak as an actor, Hudson nevertheless became a top box-office star, cueing Willson to turn Arthur Gelien into Tab Hunter, Robert Moseley into Guy Madison, Francis Durgin into Rory Calhoun, etc., etc. Besides paying Willson ten percent of their earnings, the actors were expected to sleep with Willson, who was gay and a troll in the looks department. Most actors, including some who were straight, gave in. The success of his clients kept actors showing up at Willson’s office or by his pool, reportedly the scene of orgies. More than a lecher, Willson could be generous with his boys (he supported Hudson during the actor’s first year in Hollywood) and gave them canny career advice. The agent could also be treacherous. When Confidential magazine threatened to expose Hudson as gay, Willson bartered the rag’s silence about Hudson for tales about Calhoun’s prison record and Hunter’s arrest at a gay party (see Tab Hunter Confidential, p. 776). To butch up Hudson’s image, Willson arranged a marriage between his secretary and the future star of Pillow Talk. And to keep blackmailers off Hudson’s trail, Willson let loose the hounds—off-duty cops and mafia men.

No fool for Hollywood, Variety reporter Hofler gets off a lot of good lines as he tells this familiar tale of Hollywood gays in the ’50s.

Pub Date: Oct. 1, 2005

ISBN: 0-7867-1607-X

Page Count: 480

Publisher: N/A

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Aug. 1, 2005

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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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