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FRONT ROW AT THE TRUMP SHOW

No one’s mind will be changed by Karl’s book, but it’s a valuable report from the scene of an ongoing train wreck.

The chief White House and Washington correspondent for ABC provides a ringside seat to a disaster-ridden Oval Office.

It is Karl to whom we owe the current popularity of a learned Latin term. Questioning chief of staff Mick Mulvaney, he followed up a perhaps inadvertently honest response on the matter of Ukrainian intervention in the electoral campaign by saying, “What you just described is a quid pro quo.” Mulvaney’s reply: “Get over it.” Karl, who has been covering Trump for decades and knows which buttons to push and which to avoid, is not inclined to get over it: He rightly points out that a reporter today “faces a president who seems to have no appreciation or understanding of the First Amendment and the role of a free press in American democracy.” Yet even against a bellicose, untruthful leader, he adds, the press “is not the opposition party.” The author, who keeps his eye on the subject and not in the mirror, writes of Trump’s ability to stage situations, as when he once called Trump out, at an event, for misrepresenting poll results and Trump waited until the camera was off before exploding, “Fucking nasty guy!”—then finished up the interview as if nothing had happened. Trump and his inner circle are also, by Karl’s account, masters of timing, matching negative news such as the revelation that Russia had interfered in the 2016 election with distractions away from Trump—in this case, by pushing hard on the WikiLeaks emails from the Democratic campaign, news of which arrived at the same time. That isn’t to say that they manage people or the nation well; one of the more damning stories in a book full of them concerns former Homeland Security head Kirstjen Nielsen, cut off at the knees even while trying to do Trump’s bidding.

No one’s mind will be changed by Karl’s book, but it’s a valuable report from the scene of an ongoing train wreck.

Pub Date: March 31, 2020

ISBN: 978-1-5247-4562-2

Page Count: 368

Publisher: Dutton

Review Posted Online: Dec. 21, 2019

Kirkus Reviews Issue: Jan. 15, 2020

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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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