An agenda-driven history that will appeal only to those who already share the author’s disdain of contemporary leftism.
A provocative comparison between fascism, Nazism, and the modern political left.
According to libertarian activist Samuels (In Defense of Chaos, 2013), the “so-called polar-opposite ideologies” of fascism and communism are “virtual carbon copies” and “almost indistinguishable” from each other. Both share common traits of authoritarianism, he says, as well as a preference for collectivism over individualism, a hostility to free market capitalism, and a predilection against freedom of speech and thought. Although much of his book centers on proving his contentious thesis on the communist origins of Italian fascism and German Nazism, his underlying objective is to connect them to today’s left. Samuels sees such parallels in leftist protests against conservative speakers on college campuses; what he calls the “Big Lie” of accusations of sexual misconduct against U.S. Supreme Court Justice Brett Kavanaugh; and what he terms the “positive racism” of affirmative action. Though starkly polemical, Samuels’ prose style is sophisticated, and at its best when challenging the contemporary right-left ideological axis. His discussion of the connections between the “Old Right” and communist governments are notable, as he points out that they both favor monarchic regimes and government-enforced morality. However, Samuels’ political agenda often lends itself to sloppy analysis when asserting connections between fascism/Nazism and the contemporary left. For example, his claim that today’s “Democratic Party still seems to attract racists and admirers of Hitler’s military and economic accomplishments” ignores myriad racist organizations to whom the Democratic Party is anathema. He also cites the alleged “popularity” of Nation of Islam leader Louis Farrakhan among Democrats as evidence of their racism; however, Farrakhan’s stances on traditional gender roles, and his skepticism of the federal government, are closer to those of the right than the left. Samuels accuses leftists of having “a muddled sense of history,” but much of his own retelling of the history of fascist Italy and Nazi Germany seems deliberately constructed to discredit his political opponents in today’s America.
An agenda-driven history that will appeal only to those who already share the author’s disdain of contemporary leftism.Pub Date: June 13, 2019
ISBN: 978-0-9615893-1-8
Page Count: 595
Publisher: Freeland Press
Review Posted Online: Dec. 6, 2019
Review Program: Kirkus Indie
This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)
Pub Date: Oct. 28, 1996
ISBN: 0-15-100227-4
Page Count: 136
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1996
BOOK REVIEW
BOOK REVIEW
An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.
Pub Date: Feb. 23, 1955
ISBN: 0670717797
Page Count: -
Publisher: Viking
Review Posted Online: Oct. 25, 2011
Kirkus Reviews Issue: Feb. 1, 1955
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