PICASSO'S WOMAN

A BREAST CANCER STORY

Published in Canada in slightly different form in 1994, this absorbing story of a resourceful and courageous woman learning to live with breast cancer received the Canadian Authors Association Literary Award. A paramedic trained to take control in critical situations, an ocean kayaker accustomed to pushing herself to the limits, and a poet with a gift for self-expression, MacPhee seems better equipped than most women both to face her frightening ordeal and to share the experience with others. What happened to her is unfortunately all too common today, but her account of it is uncommonly good. In 1991 she discovered a lump in her right breast; a biopsy showed the lump to be malignant. A few months later, while still recovering from a mastectomy, she discovered a lump in her left breast, and a lumpectomy was performed. MacPhee writes honestly and powerfully about the impact of cancer on herself, her family—she and her husband have two teenage daughters—and her community of women friends. Friends play an important role in MacPhee's life, and the withdrawal of one of her closest ones during this time is especially difficult for her to accept. Her attitude toward her prosthesis, her ``boob,'' as she derisively calls it, and her eventual discarding of it reveal much about the importance of self-image and the difficulties of coming to terms with a drastically altered body. Indeed, the present work's title expresses the kinship MacPhee feels with one of Picasso's Cubist paintings of a woman with rearranged body parts. An afterword by Kathy LaTour, a breast cancer activist and survivor, reveals that MacPhee has had a recurrence of cancer and is working on a follow-up book, tentatively titled ``Any Day Above Ground Is a Good One.'' Any book from MacPhee promises equally to be a good one.

Pub Date: May 1, 1996

ISBN: 1-56836-138-6

Page Count: 288

Publisher: Kodansha

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: April 1, 1996

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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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