Compelling—if you’re into that sort of thing.
Thriller author Mezrich (Reaper, 1998, etc.) depicts a team of card-counting MIT students who live the Vegas high life for a while before getting caught and barred from all casinos everywhere.
Approached to join the MIT blackjack club, Kevin Lewis was hesitant: Aren’t they nerds who play cards in the library all night long? Still, Kevin is far enough along in his education to know that he’s not cut out for the typical life of an MIT alum, so he decides to check out the club, which he discovers is churning out teams of card counters. (The author suggests that the Techies developed a new system for card counting, but it seems more likely they simply expanded its possibilities.) After passing a series of tests, learning “basic strategy,” and such, Kevin is allowed to join the teams of counters spread throughout a casino so as to raise the chance that someone will find a sufficiently advantageous situation to play in. (Playing alone can take forever.) Soon he’s mastered all the dodges, and before he can say Ocean’s 11 he’s rolling in dough and dating an LA Rams cheerleader. The scam works for a time—it’s legal, actually, so where’s the fun?—but soon enough the casinos seem to be onto them. Faceless authority suddenly assumes the form of Vincent Cole, who may work for a private investigation service specializing in routing out counters. From there it’s mainly a question of how the counters got caught. Did one of their own turn them in, or was it facial recognition software developed at (you guessed it) MIT? Mezrich’s prose is generally colorless, and he unwisely attempts to punch it up with some over-dramatized scenes at the card tables and by using italics wherever he’s talking about a lot of money.
Compelling—if you’re into that sort of thing.Pub Date: Oct. 1, 2002
ISBN: 0-7432-2570-8
Page Count: 288
Publisher: Free Press
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 2002
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.
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
An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s...
Music journalist and musician Wald (Talking 'Bout Your Mama: The Dozens, Snaps, and the Deep Roots of Rap, 2014, etc.) focuses on one evening in music history to explain the evolution of contemporary music, especially folk, blues, and rock.
The date of that evening is July 25, 1965, at the Newport Folk Festival, where there was an unbelievably unexpected occurrence: singer/songwriter Bob Dylan, already a living legend in his early 20s, overriding the acoustic music that made him famous in favor of electronically based music, causing reactions ranging from adoration to intense resentment among other musicians, DJs, and record buyers. Dylan has told his own stories (those stories vary because that’s Dylan’s character), and plenty of other music journalists have explored the Dylan phenomenon. What sets Wald's book apart is his laser focus on that one date. The detailed recounting of what did and did not occur on stage and in the audience that night contains contradictory evidence sorted skillfully by the author. He offers a wealth of context; in fact, his account of Dylan's stage appearance does not arrive until 250 pages in. The author cites dozens of sources, well-known and otherwise, but the key storylines, other than Dylan, involve acoustic folk music guru Pete Seeger and the rich history of the Newport festival, a history that had created expectations smashed by Dylan. Furthermore, the appearances on the pages by other musicians—e.g., Joan Baez, the Weaver, Peter, Paul, and Mary, Dave Van Ronk, and Gordon Lightfoot—give the book enough of an expansive feel. Wald's personal knowledge seems encyclopedic, and his endnotes show how he ranged far beyond personal knowledge to produce the book.
An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s personal feelings about Dylan's music or persona.Pub Date: July 25, 2015
ISBN: 978-0-06-236668-9
Page Count: 368
Publisher: Dey Street/HarperCollins
Review Posted Online: May 15, 2015
Kirkus Reviews Issue: June 1, 2015
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