A generalist brings together three fields—philosophy, religion and art—often kept separate.

THE PHILOSOPHER, THE PRIEST, AND THE PAINTER

A PORTRAIT OF DESCARTES

“A small, intimate portrait” illustrating the biography of René Descartes and his ideas.

Nadler (Philosophy/Univ. of Wisconsin; A Book Forged in Hell: Spinoza's Scandalous Treatise and the Birth of the Secular Age, 2011, etc.) believes that Descartes “belongs as much to the intellectual culture of the Dutch Golden Age as he does to the grand history of Western philosophy whose development he so strongly influenced.” Feeling politically constrained in France, Descartes moved to Holland to work, but his philosophy aroused controversy and opposition in Dutch universities as well. Nadler situates the French philosopher's life in its Dutch context and frames the narrative with an investigation into a few portraits of Descartes. One was supposedly painted by Frans Hals and is in Copenhagen. The author demonstrates that there may be a possibility that one of Descartes’ friends commissioned the portrait from Hals as a memento prior to the philosopher's 1649 departure on a visit to the queen of Sweden. This would have been from the period he lived in the village where he wrote the Discourse on Method and Principles of Philosophy. The friend was the Catholic priest Augustijn Alsten Blomart, who lived in the city of Haarlem, just south of Descartes' country-village home. Blomart, as Nadler shows, was well-integrated into contemporary Dutch literary, artistic, scientific and political circles. Hals also lived and worked in Haarlem. Nadler discusses the extant portraits of the philosopher, as well as their provenance and what is known of the context in which they were produced. He also provides a chronological summary of Descartes’ philosophical works in relation to their Dutch context.

A generalist brings together three fields—philosophy, religion and art—often kept separate.

Pub Date: April 21, 2013

ISBN: 978-0-691-15730-6

Page Count: 280

Publisher: Princeton Univ.

Review Posted Online: Feb. 18, 2013

Kirkus Reviews Issue: March 1, 2013

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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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