Five of the essays here—including the seminal "The Third Meaning," which is Barthes' semiological prÉcis of the element of "code apperception" independent of a "signified" or a "signifier"—have been published before, in 1977's Image/Music/Text. In these and more specific pieces, Barthes again addresses the arts that seem to be language-free yet, he argues, are not; once more he stresses the systematization of connotation or prefabricated meaning that we take (or think we take) from a work of art. In the visual arts, Barthes focuses on painters and illustrators preoccupied with letters and signs: the essays on Cy Twombly, Requichot, and ErtÉ (women as signs is the strained premise) often seem merely clever; more persuasive are a short essay on pop art and a curious study of baroque illusionist Arcimboldo's alphabetic paintings of heads-and-foods. ("The principle of the Arcimboldesque 'monsters' is, in short, that Nature does not stop.") Even less commanding are the studies of music—including an examination of the voice (its "grain") that trails off into Lacanian psychoanalysis and musings on the contemporary shifts in modes of listening. And it's only in essays on photography—essentially familiar fare for those who've read Barthes' extensive oeuvre on the camera—that Barthes' structural preoccupations seem to lead to the heart of an art-form. Otherwise: intricate, often dazzling intellectual explorations—but too limited by Barthes' theoretical framework to bring real illumination to music or art.

Pub Date: Nov. 1, 1984


Page Count: -

Publisher: Hill and Wang/Farrar, Straus and Giroux

Review Posted Online: Oct. 10, 2011

Kirkus Reviews Issue: Oct. 15, 1984

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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 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...


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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