Fluent and lively as a flyweight ten-rounder. (8-page photo insert, not seen)
Pugilist turned biographer Ross spars with us in his debut, an account of the short, mostly happy life of fearless Al “Bummy” Davis (1920–45), a nice kid with a fierce left hook and a volatile, short fuse.
It all took place in Brownsville, a land of gangsters in candy stores, of sudden death among egg creams. Everyone, readers may gather from this text, spoke in colorful argot filled with Yiddishisms: Gertude Berg joined with James T. Farrell, Henry Roth meets Damon Runyon. The street names, the people, the ambience, the very air are all quite accurate, but the set scenes, the dramatics, and especially the dialogue are frankly dubious. Although no one other than those involved can know last thoughts, intimate conversations, or amorphous motivations, Ross delivers them all anyway. He knows what Lepke Buchalter thought, what Albert Anastasia felt, what Kid Twist Reles said to his wife and just how that dirty bastard Reles took his fatal plunge from a window at Coney’s Half Moon Hotel. Ross recreates what revered Cantor Yossele Rosenblat said to Bummy Davis (né Davidoff). And he clearly knows what Davis felt as he beat Tony Canzoneri in Madison Square Garden. It’s a colorful tale that traces the life and times of an appealing street guy who keeps straight despite two gangster brothers. (Too bad John Garfield is no longer available for the title role.) If this reads more like a frisky novel than straight social history, it certainly has more brio and is more realistic than any ordinary history of life for some folks during Prohibition and after in Brooklyn. And it's funny too, in a Runyon Redux way, as present tense kayos the past. So maybe it’s overdramatized: ya wanna make somethin’ of it?
Fluent and lively as a flyweight ten-rounder. (8-page photo insert, not seen)Pub Date: Nov. 12, 2003
ISBN: 0-312-30638-5
Page Count: 400
Publisher: St. Martin's
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 2003
BOOK REVIEW
BOOK REVIEW
An erudite and artful, though frustratingly restrained, look at Old Testament stories.
The Book of Genesis as imagined by a veteran voice of underground comics.
R. Crumb’s pass at the opening chapters of the Bible isn’t nearly the act of heresy the comic artist’s reputation might suggest. In fact, the creator of Fritz the Cat and Mr. Natural is fastidiously respectful. Crumb took pains to preserve every word of Genesis—drawing from numerous source texts, but mainly Robert Alter’s translation, The Five Books of Moses (2004)—and he clearly did his homework on the clothing, shelter and landscapes that surrounded Noah, Abraham and Isaac. This dedication to faithful representation makes the book, as Crumb writes in his introduction, a “straight illustration job, with no intention to ridicule or make visual jokes.” But his efforts are in their own way irreverent, and Crumb feels no particular need to deify even the most divine characters. God Himself is not much taller than Adam and Eve, and instead of omnisciently imparting orders and judgment He stands beside them in Eden, speaking to them directly. Jacob wrestles not with an angel, as is so often depicted in paintings, but with a man who looks not much different from himself. The women are uniformly Crumbian, voluptuous Earth goddesses who are both sexualized and strong-willed. (The endnotes offer a close study of the kinds of power women wielded in Genesis.) The downside of fitting all the text in is that many pages are packed tight with small panels, and too rarely—as with the destruction of Sodom and Gomorrah—does Crumb expand his lens and treat signature events dramatically. Even the Flood is fairly restrained, though the exodus of the animals from the Ark is beautifully detailed. The author’s respect for Genesis is admirable, but it may leave readers wishing he had taken a few more chances with his interpretation, as when he draws the serpent in the Garden of Eden as a provocative half-man/half-lizard. On the whole, though, the book is largely a tribute to Crumb’s immense talents as a draftsman and stubborn adherence to the script.
An erudite and artful, though frustratingly restrained, look at Old Testament stories.Pub Date: Oct. 19, 2009
ISBN: 978-0-393-06102-4
Page Count: 224
Publisher: Norton
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 15, 2009
BOOK REVIEW
BOOK REVIEW
Harari delivers yet another tour de force.
A highly instructive exploration of “current affairs and…the immediate future of human societies.”
Having produced an international bestseller about human origins (Sapiens, 2015, etc.) and avoided the sophomore jinx writing about our destiny (Homo Deus, 2017), Harari (History/Hebrew Univ. of Jerusalem) proves that he has not lost his touch, casting a brilliantly insightful eye on today’s myriad crises, from Trump to terrorism, Brexit to big data. As the author emphasizes, “humans think in stories rather than in facts, numbers, or equations, and the simpler the story, the better. Every person, group, and nation has its own tales and myths.” Three grand stories once predicted the future. World War II eliminated the fascist story but stimulated communism for a few decades until its collapse. The liberal story—think democracy, free markets, and globalism—reigned supreme for a decade until the 20th-century nasties—dictators, populists, and nationalists—came back in style. They promote jingoism over international cooperation, vilify the opposition, demonize immigrants and rival nations, and then win elections. “A bit like the Soviet elites in the 1980s,” writes Harari, “liberals don’t understand how history deviates from its preordained course, and they lack an alternative prism through which to interpret reality.” The author certainly understands, and in 21 painfully astute essays, he delivers his take on where our increasingly “post-truth” world is headed. Human ingenuity, which enables us to control the outside world, may soon re-engineer our insides, extend life, and guide our thoughts. Science-fiction movies get the future wrong, if only because they have happy endings. Most readers will find Harari’s narrative deliciously reasonable, including his explanation of the stories (not actually true but rational) of those who elect dictators, populists, and nationalists. His remedies for wildly disruptive technology (biotech, infotech) and its consequences (climate change, mass unemployment) ring true, provided nations act with more good sense than they have shown throughout history.
Harari delivers yet another tour de force.Pub Date: Sept. 4, 2018
ISBN: 978-0-525-51217-2
Page Count: 400
Publisher: Spiegel & Grau
Review Posted Online: June 26, 2018
Kirkus Reviews Issue: July 15, 2018
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