Riley, author of the best study by far of the Beatles' song catalogue (Tell Me Why, 1988), turns now to Bob Dylan—``the most important American rock 'n' roller since Presley''—with impressive, but less consistently persuasive, results. As before, Riley steers clear of biography and simply goes chronologically, album-by-album, song-by-song, through the Dylan oeuvre—including unreleased tracks, bootleg recordings, live concert tapes, and concert films. In fact, unlike most Dylan critics, Riley declines to link the songs to the life, contending (not always convincingly) that Dylan turns his ``intimate trials'' into ``public metaphors''—in contrast to ``self-serving,'' Me- decade types like James Taylor. Throughout, Riley stresses Dylan's humor, the satire implicit in his ``bad'' singing, his manipulations of his persona, and his eclectic roots. There's sharp criticism as well as enthusiasm here: The Times They Are A-Changin' succumbs to ``folkie social preening and black-and-white moralism''; Blonde on Blonde is a ``tour de force of obscurantist rock poetics''; ``I Shall Be Released'' is an ``overpraised and overplayed potboiler.'' Riley applauds Dylan's return to ``roots'' in his work with The Band and his country-ish albums but is pretty much appalled by the ``stringent and pious'' born-again albums. And, in contrast to many hard-core Dylan-ites, Riley finds little evidence of a revitalized Dylan once his ``slide'' begins circa 1978. Not everyone will buy Riley's attempt to view Dylan's weaknesses—the clichÇs, the slurred diction, etc.—as ``postmodernist.'' His dense, imagistic evocations of the songs occasionally become precious or strained. (`` `Idiot Wind' is an emotional soapbox as fearsome and cutting as any of the cutlery that flies in Edward Albee's Who's Afraid of Virginia Woolf?'') But, with full attention given to Dylan as performer and writer, to cover versions and disciples (Springsteen, Neil Young), and even to other Dylan-commentators, this is an essential book for Dylanologists: comprehensive, knowing, challenging.

Pub Date: Aug. 3, 1992

ISBN: 0-394-57889-9

Page Count: 400

Publisher: Knopf

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: June 15, 1992

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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 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...


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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