Essential for Farley and SNL fans, and a sterling example of oral biography—well-structured, consistently engaging and...

THE CHRIS FARLEY SHOW

A BIOGRAPHY IN THREE ACTS

Family, friends and colleagues remember the late Saturday Night Live star.

When legendary comedy-improv writer and instructor Del Close first saw Chris Farley perform, he commented, “Oh, that’s the next John Belushi.” That praise would prove prophetic in both a positive and a negative way: Like Belushi, Farley’s rapid rise to fame was attended by a lifelong battle with weight problems and substance abuse. In this moving oral biography, older brother Tom Jr. and former National Lampoon Radio Hour head writer Colby (co-author: Belushi, 2005) assemble a layered, in-depth portrait of both Farley’s professional and personal lives, culled from more than 130 interviews with dozens of his closest friends and confidantes. After quickly ascending through the ranks of ImprovOlympic and Second City in Chicago, Farley landed his dream job at SNL—and later, starring roles in Tommy Boy and Black Sheep, among others. (Farley was also the original choice for the voice of Shrek, but his death led to the hiring of Mike Myers.) His colleagues universally recognized his talent, boundless energy and lust for life, but it quickly became clear that he was also battling demons that had been lingering since adolescence: Irish-Catholic guilt; addictive personality; the self-imposed pressure to please everyone around him, especially his father, who was extremely loving but also an obese alcoholic, enabling his son’s issues with alcohol. During the course of the ten years leading up to his death, Farley was in and out of various rehabilitation centers, at one point staying clean for three years. But he was unable to overcome his problems and died of an overdose in December 1997. The editors deserve credit for eliciting such heartfelt remembrances (not all of it positive) from an impressive list of celebrities—Alec Baldwin, John Goodman, Lorne Michaels, Conan O’Brien, Chris Rock, David Spade, Kevin Nealon, Rob Lowe, Al Franken, Penelope Spheeris and many more—but readers should also pay close attention to Farley’s family and friends, who get right to the heart of this flawed but humble, remarkably compassionate and enormously talented performer.

Essential for Farley and SNL fans, and a sterling example of oral biography—well-structured, consistently engaging and simultaneously heartwarming and heartbreaking.

Pub Date: May 6, 2008

ISBN: 978-0-670-01923-6

Page Count: 344

Publisher: Viking

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 15, 2008

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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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