Insightful, exhaustive and engrossing—a definitive portrait of the man and the legend.

JOHN WAYNE

THE LIFE AND LEGEND

A comprehensive and compelling examination of The Duke.

Hollywood biographer Eyman (Empire of Dreams: The Epic Life of Cecil B. DeMille, 2010, etc.) goes beyond a mere cataloging of film credits and biographical highlights to illuminate the process that transformed Marion Morrison (1907-1979) into cinema’s most enduring symbol of masculinity, John Wayne. The poor son of a diffident man and a difficult mother, Wayne enjoyed social success in his school career due to his good looks, winning manner and athletic prowess. However, after an injury ended his football scholarship at the University of Southern California, he angled his way into a job as a prop boy at various movie studios. His commanding height, strength and graceful bearing were noted by director Raoul Walsh, who cast him in a small role, which led to a mostly undistinguished career cranking out generic, low-budget Westerns for Poverty Row studios such as Monogram and Republic. Eyman vividly evokes the humiliation and difficulty of those years in the trenches, where the canny Wayne devoted himself to learning every aspect of moviemaking and performing effectively for the camera. When John Ford gave Wayne his big break in Stagecoach (1939), the actor was ready. Eyman devotes much attention to the complicated but rewarding relationship between Wayne and Ford—the two would partner on an astonishing number of classic films—which would cement Wayne’s image in the public mind as film’s pre-eminent avatar of American manhood. Wayne’s personal life was as full of incident as his roles, including a tempestuous series of marriages, a long-term affair with screen siren Marlene Dietrich and controversy surrounding his conservative political views. Throughout, Eyman portrays Wayne as a man of hidden dimensions: a regular guy who liked to smoke and drink with his buddies and who was also a formidable chess player; a controlling figure on the set also capable of tremendous kindness and generosity; and an untrained actor who mastered the art of film performance.

Insightful, exhaustive and engrossing—a definitive portrait of the man and the legend.

Pub Date: April 1, 2014

ISBN: 978-1-4391-9958-9

Page Count: 512

Publisher: Simon & Schuster

Review Posted Online: April 10, 2014

Kirkus Reviews Issue: May 1, 2014

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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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