The reader must decide whether this eloquent self-portrait does express regret, even atonement; represents yet another...
The 1999 Nobel Prize–winner tells the story of his childhood, youth and early artistic career in a riveting memoir that has quickly attracted international controversy and not a little righteous anger.
For, the world now knows, the brilliant expressionist author—a painter and sculptor in words as in the visual and plastic arts he has likewise mastered—long known as a fierce critic of German xenophobia and in particular his country’s 20th-century history of aggression and genocide, kept silent for decades about his own experiences as a soldier of the Third Reich. In an essentially chronological narrative that frequently looks forward to Grass’s later years (he’s now in his 80s), we learn of his youth as the dreamy, artistically inclined son of a “bourgeois” shopkeeper’s family, as well as the apolitical “faith in the Führer” that inspired him to don a smart-looking uniform that might attract girls and to join Heinrich Himmler’s Waffen-S.S. (after attempting to enter the submarine service). We also receive information about his combat misadventures and borderline-arduous detainment in POW camps. Employing both first- and third-person narration, Grass pictures himself as an idealistic naïf who slowly developed a mature political conscience, as he emerged from the war unharmed, worked in a potash mine, then apprenticed to first a stone-cutter then a sculptor, traveled and absorbed culture (e.g., participating in a jam session joined by a visiting Louis Armstrong), married and fathered four children and earned fame with the publication of his first novel, The Tin Drum, in 1959. The command of incident and detail is superlative, and the book is immensely readable. But some will feel that Grass’s apologia, if it is such, amounts to too little too late. “I practiced the art of evasion,” he concedes, “[but] the massive weight of the German past and hence my own …. stood in my way …. No path led round it.”
The reader must decide whether this eloquent self-portrait does express regret, even atonement; represents yet another “evasion”; or, how much, in the final analysis, the difference actually matters.Pub Date: June 25, 2007
ISBN: 978-0-15-101477-4
Page Count: 432
Publisher: Harcourt
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: June 1, 2007
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
A moving meditation on mortality by a gifted writer whose dual perspectives of physician and patient provide a singular...
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
PERSPECTIVES
© Copyright 2025 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
