A deeply reported and well-told account of a legendary day on the gridiron.



In his latest work of sports reportage, former Fort Worth Star-Telegram columnist Reeves recounts one of the greatest comebacks in the modern history of college football.

On Jan. 2, 2016, Texas Christian University’s powerhouse Horned Frogs football team was preparing to face the University of Oregon Ducks in the nationally televised Alamo Bowl. TCU’s chances were good: Their starting quarterback, Trevone Boykin, was one of the best in the school’s history and a Heisman Trophy candidate. Then, three days before the game, Boykin was arrested for punching a San Antonio cop during a brawl at the city’s River Walk. With Boykin suspended, the team had no choice but to turn to his backup, a walk-on senior named Bram Kohlhausen who hadn’t started a single game in his college career. The day of the bowl was cold and rainy, and by halftime, Oregon was beating TCU 31-0. Head coach Gary Patterson assembled the team—and his panicking quarterback—for a pep talk, but “the only thing on Bram’s mind at that moment was the dawning realization that his college career was over.” Little did Bram know that he was about to lead TCU in one of the most incredible comebacks in bowl history, forcing triple overtime and becoming a legend in the school’s storied football program. Reeves recounts the events in the gripping prose of a practiced storyteller, capturing the psychologies of the individuals involved as well as that of the audience at large: “It wasn’t until the Frogs’ offense trotted out for the first series of the second half that fans in the stands realized Bram Kohlhausen was still in at quarterback. There was an audible rumble as this realization sank into the collective consciousness. This guy again?” Reeves unspools the backstory of Bram—who interestingly, was named after Bram Stoker, the famed author of Dracula, which his mother was reading while pregnant with him—and recounts his unlikely rise to prominence. Even readers who have no affiliation with TCU will find themselves caught up in this tale of triumph.

A deeply reported and well-told account of a legendary day on the gridiron.

Pub Date: April 1, 2022

ISBN: 978-1-892588-69-2

Page Count: 149

Publisher: Berkeley Place Books

Review Posted Online: April 18, 2022

Kirkus Reviews Issue: June 1, 2022

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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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A virtuoso performance and an ode to an undervalued medium created by two talented artists.



The veteran actor, comedian, and banjo player teams up with the acclaimed illustrator to create a unique book of cartoons that communicates their personalities.

Martin, also a prolific author, has always been intrigued by the cartoons strewn throughout the pages of the New Yorker. So when he was presented with the opportunity to work with Bliss, who has been a staff cartoonist at the magazine since 1997, he seized the moment. “The idea of a one-panel image with or without a caption mystified me,” he writes. “I felt like, yeah, sometimes I’m funny, but there are these other weird freaks who are actually funny.” Once the duo agreed to work together, they established their creative process, which consisted of working forward and backward: “Forwards was me conceiving of several cartoon images and captions, and Harry would select his favorites; backwards was Harry sending me sketched or fully drawn cartoons for dialogue or banners.” Sometimes, he writes, “the perfect joke occurs two seconds before deadline.” There are several cartoons depicting this method, including a humorous multipanel piece highlighting their first meeting called “They Meet,” in which Martin thinks to himself, “He’ll never be able to translate my delicate and finely honed droll notions.” In the next panel, Bliss thinks, “I’m sure he won’t understand that the comic art form is way more subtle than his blunt-force humor.” The team collaborated for a year and created 150 cartoons featuring an array of topics, “from dogs and cats to outer space and art museums.” A witty creation of a bovine family sitting down to a gourmet meal and one of Dumbo getting his comeuppance highlight the duo’s comedic talent. What also makes this project successful is the team’s keen understanding of human behavior as viewed through their unconventional comedic minds.

A virtuoso performance and an ode to an undervalued medium created by two talented artists.

Pub Date: Nov. 17, 2020

ISBN: 978-1-250-26289-9

Page Count: 272

Publisher: Celadon Books

Review Posted Online: Aug. 31, 2020

Kirkus Reviews Issue: Sept. 15, 2020

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