Thankfully for readers, Guibert promises a prequel volume on Cope’s childhood in California, in testament to “the...

ALAN’S WAR

This epic graphic memoir spans oceans and generations, with a narrative as engrossing as the artistry that illustrates it.

In his preface, renowned French graphic novelist Guibert (co-author: The Professor’s Daughter, 2007, etc.) explains the bond he shared with the much older Cope, who had served as an American soldier during World War II and left his native country to return to France in the aftermath. “He spoke well; I listened well,” writes Guibert. “Save two or three, his anecdotes were nothing spectacular. They evoked only very remotely what movies or books about the Second World War had taught me. Still, I found them captivating, because of the accents of truth they contained. I could literally see what he was describing.” Now the American reader can as well (the first volume of the collaboration was initially published in France in 2000, the year after Cope’s death). As the title suggests, this is one man’s war memories, filled not with tales of larger-than-life heroism but with the chance encounters, tragic absurdities and small kindnesses experienced by a sheltered young soldier of uncommon intelligence, as recollected by an older man who has come to take stock of his life and reconsider the values by which he has lived it. He comes to question himself, his country and humanity in general, while retaining a humanitarian warmth and a deep appreciation for the arts. The narrative voice is captivating, and the black-and-white illustrations are often stunning, whether capturing the grandeur of Big Sur and the giant redwoods of California or showing the destruction of European villages by soldiers who shared a common bond of humanity with the civilian “enemy.” The Veteran’s Day publication befits a volume that underscores the resonance and legacy of war.

Thankfully for readers, Guibert promises a prequel volume on Cope’s childhood in California, in testament to “the storyteller in him that I was drawn to—his personality, his style, his voice, and his astounding memory.”

Pub Date: Nov. 11, 2008

ISBN: 978-1-59643-096-9

Page Count: 336

Publisher: First Second/Roaring Brook

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Aug. 1, 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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