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DON’T LET’S GO TO THE DOGS TONIGHT

AN AFRICAN CHILDHOOD

An illuminating, even thrillingly fresh perspective on the continent’s much-discussed post-colonial problems.

Fuller’s debut is a keen-eyed, sharp-voiced memoir of growing up white in 1970s Africa.

Born in England in 1969, the author by age three had moved to civil-war–torn Rhodesia, where her parents had lived before they lost an infant son to meningitis. Tim and Nicola Fuller ran a farm on Rhodesia’s eastern edge. Mozambique, just across the border, was deep into its own civil war, and in this hostile geopolitical climate the Fullers struggled for a toehold that would keep Rhodesia white-ruled. In 1976, Nicola gave birth to a daughter who drowned in a duck puddle less than two years later. Minority rule ended in 1979; the country began its gradual, uneasy metamorphosis into independent Zimbabwe. The Fullers lost their land; Nicola bore and for the third time lost a child. To gain distance from all this failure, the family moved to dictator-controlled Malawi before ultimately settling in Zambia, where Tim and Nicola remain to this day. Fuller makes no apologies for her parents’ (especially her mother’s) politics. The loose structure and short takes here crystallize and polish the general subjects—race, politics, history, home, loss—into diamond-hard clarity without sacrificing the pace and intensity of the narrative or distracting the reader from the appeal of the personal. Like Dinesen, the author takes an elegiac tone, but it’s balanced by a bouncy lyricism derived from compression, humor, and gimlet-eyed compassion. Fuller loved and loves her Africa; in the final analysis that passion takes a bright and vivid story to the next level, and even further.

An illuminating, even thrillingly fresh perspective on the continent’s much-discussed post-colonial problems.

Pub Date: Dec. 26, 2001

ISBN: 0-375-50750-7

Page Count: 368

Publisher: Random House

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Oct. 1, 2001

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NIGHT

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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WHEN BREATH BECOMES AIR

A moving meditation on mortality by a gifted writer whose dual perspectives of physician and patient provide a singular...

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A neurosurgeon with a passion for literature tragically finds his perfect subject after his diagnosis of terminal lung cancer.

Writing isn’t brain surgery, but it’s rare when someone adept at the latter is also so accomplished at the former. Searching for meaning and purpose in his life, Kalanithi pursued a doctorate in literature and had felt certain that he wouldn’t enter the field of medicine, in which his father and other members of his family excelled. “But I couldn’t let go of the question,” he writes, after realizing that his goals “didn’t quite fit in an English department.” “Where did biology, morality, literature and philosophy intersect?” So he decided to set aside his doctoral dissertation and belatedly prepare for medical school, which “would allow me a chance to find answers that are not in books, to find a different sort of sublime, to forge relationships with the suffering, and to keep following the question of what makes human life meaningful, even in the face of death and decay.” The author’s empathy undoubtedly made him an exceptional doctor, and the precision of his prose—as well as the moral purpose underscoring it—suggests that he could have written a good book on any subject he chose. Part of what makes this book so essential is the fact that it was written under a death sentence following the diagnosis that upended his life, just as he was preparing to end his residency and attract offers at the top of his profession. Kalanithi learned he might have 10 years to live or perhaps five. Should he return to neurosurgery (he could and did), or should he write (he also did)? Should he and his wife have a baby? They did, eight months before he died, which was less than two years after the original diagnosis. “The fact of death is unsettling,” he understates. “Yet there is no other way to live.”

A moving meditation on mortality by a gifted writer whose dual perspectives of physician and patient provide a singular clarity.

Pub Date: Jan. 19, 2016

ISBN: 978-0-8129-8840-6

Page Count: 248

Publisher: Random House

Review Posted Online: Sept. 29, 2015

Kirkus Reviews Issue: Oct. 15, 2015

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