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YOU BETTER NOT CRY

STORIES FOR CHRISTMAS

Another winner from a master of comic timing and poignant reflection.

The high priest of mortifying disaster serves up a fine selection of cringe-inducing yuletide fiascos.

Burroughs (A Wolf at the Table: A Memoir of My Father, 2008, etc.) begins this gathering of Christmas nightmares with his confusion about Santa and Jesus, who he assumed were the same entity. “I could identify Coke or Pepsi with just one sip,” he writes, “but I could not tell you for sure why they strapped Santa to a cross. Had he missed a house?” His “brief and entirely baffling period of Sunday school” failed to clarify the issue, especially since Burroughs spent most of that time eating the lead paint flecks off the aging metal toys. One Christmas, his grandparents brought him a life-sized Santa. He was so attracted to it that his innocent kisses accelerated into him eating Santa’s wax face. “Even from across the room I could see the carnage that was Santa’s face. I’d disfigured him, hideously,” he writes. “I felt sure that even Jesus, with his love for the maimed, would turn away.” Burroughs also recounts some of the vibrant repartee he shared with his mother and father after yet another failed Christmas: “You are officially free to kill each other!” he grants his warring parents. “Well, well,” replies his mother. “Bravo, you hateful spoiled thing.” Eventually the author’s tone shows signs of empathy, a humanism toward the folks with whom he shares the mornings-after: the “Santa” he awakens next to one blackout dawn, with a “doughy body” and “small, World War II–era erection”; the street woman with whom he shares a city bench, who, when she sang, “filled the space between the flakes of falling snow and packed the air with beauty.”

Another winner from a master of comic timing and poignant reflection.

Pub Date: Oct. 27, 2009

ISBN: 978-0-312-34191-6

Page Count: 224

Publisher: St. Martin's

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: July 15, 2009

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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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