Though less fluent than Nancy Milford’s now-standard, 33-year-old Zelda, Cline’s account should find considerable following...

ZELDA FITZGERALD

HER VOICE IN PARADISE

Wrapped up in a thorough biography, a strong case for why the unfortunate Zelda Fitzgerald should be remembered as an artist foremost, not merely as a victim of mental illness.

Zelda Sayre Fitzgerald’s life story is fairly well known, at least in broad outline, to students of American literature, if largely as a tale of star-crossed love. An Alabama debutante, she met Scott Fitzgerald at the end of WWI, was duly infatuated, married him—in a ceremony, notes British writer Cline (Women’s Studies/Univ. of Cambridge; Couples, 1999, etc.), that her parents refused to attend—and went on to become a bon-vivant fixture of the Jazz Age, only to go mad and, eventually, to die in a fire in the asylum where she was confined. Cline revisits these events while threading in useful notes on Zelda Fitzgerald’s artistic accomplishments (and not-so-useful remarks that smack of currently fashionable lit-crit, talking as they do of “invisibilized” art and whether Ernest Hemingway was gay). That Zelda’s life was tragic almost goes without saying, but Cline carefully assembles evidence to show that she surely had more than her share of sorrows: at the end of her life, Zelda narrowed them down to a list of her four most traumatic experiences, of which the breakdown of her marriage to Scott (mostly owing to his alcoholism, but also to her advancing mental illness) was but one. Cline does an equally careful job of establishing and maintaining an argument that Zelda was an accomplished artist in several media, especially painting and dance. Though contemporaries such as Malcolm Cowley were less than wowed by her work (Cowley complained that Zelda’s paintings were “flawed . . . by lack of proportion and craftsmanship”), Cline suggests that it was good enough on its own terms to fuel Scott Fitzgerald’s abundant insecurities, one more cause for the disintegration of their marriage.

Though less fluent than Nancy Milford’s now-standard, 33-year-old Zelda, Cline’s account should find considerable following among students of women’s literature and art.

Pub Date: May 1, 2003

ISBN: 1-55970-688-0

Page Count: 496

Publisher: Arcade

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 15, 2003

Did you like this book?

No Comments Yet

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

Did you like this book?

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

Did you like this book?

more