THE PIANIST

THE EXTRAPORDINARY TRUE STORY OF ONE MAN'S SURVIVAL IN WARSAW, 1939-45

A striking Holocaust memoir that conveys with exceptional immediacy and cool reportage the author’s desperate fight for survival and the German who came to his aid. When WWII broke out, Szpilman was a talented young Jewish pianist in Warsaw. Within a few years, he would be forced with his family into the Warsaw ghetto, where he supported them by playing in ghetto cafÇs. Szpilman’s memoir, suppressed by the Polish government shortly after its original publication in 1946, tells the story of the young man’s difficult survival in wartime Warsaw and the deportation and death of his entire family. With marked clarity and detachment, Szpilman takes us through the changing moods among the doomed population, moods determined by the merest whim or close calculations of the Germans. This is also a book about the power of music, which provides Szpilman the determination to go on and literally saves him several times. Several things distinguish this among Holocaust memoirs. Written immediately after the war, The Pianist is distant and cool in its emotional tone; we sense that the author has not yet processed his emotions. Yet the immediacy of his experiences is found on every page in the details of daily life in the ghetto and his months of hiding. This account also contains extracts from the diary of the German officer who saved Szpilman’s life. Captain Wilm Hosenfeld’s extraordinary reflections on the war and the epilogue by German writer Wolf Bierman describing the many times that Hosenfeld came to the aid of Jews and Poles are fitting companions to Szpilman’s memoir. They allow the reader to contemplate more personally the author’s marked lack of desire for revenge. After the war, Szpilman returned to his career playing for Polish Radio and in concert halls. What interested Szpilman (who still lives in Warsaw), and what comes through here, is not a desire for revenge, but the brute animal drive for survival.

Pub Date: Sept. 1, 1999

ISBN: 0-312-24415-0

Page Count: 224

Publisher: Picador

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: July 1, 1999

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If the authors are serious, this is a silly, distasteful book. If they are not, it’s a brilliant satire.

THE 48 LAWS OF POWER

The authors have created a sort of anti-Book of Virtues in this encyclopedic compendium of the ways and means of power.

Everyone wants power and everyone is in a constant duplicitous game to gain more power at the expense of others, according to Greene, a screenwriter and former editor at Esquire (Elffers, a book packager, designed the volume, with its attractive marginalia). We live today as courtiers once did in royal courts: we must appear civil while attempting to crush all those around us. This power game can be played well or poorly, and in these 48 laws culled from the history and wisdom of the world’s greatest power players are the rules that must be followed to win. These laws boil down to being as ruthless, selfish, manipulative, and deceitful as possible. Each law, however, gets its own chapter: “Conceal Your Intentions,” “Always Say Less Than Necessary,” “Pose as a Friend, Work as a Spy,” and so on. Each chapter is conveniently broken down into sections on what happened to those who transgressed or observed the particular law, the key elements in this law, and ways to defensively reverse this law when it’s used against you. Quotations in the margins amplify the lesson being taught. While compelling in the way an auto accident might be, the book is simply nonsense. Rules often contradict each other. We are told, for instance, to “be conspicuous at all cost,” then told to “behave like others.” More seriously, Greene never really defines “power,” and he merely asserts, rather than offers evidence for, the Hobbesian world of all against all in which he insists we live. The world may be like this at times, but often it isn’t. To ask why this is so would be a far more useful project.

If the authors are serious, this is a silly, distasteful book. If they are not, it’s a brilliant satire.

Pub Date: Sept. 1, 1998

ISBN: 0-670-88146-5

Page Count: 430

Publisher: Viking

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: July 15, 1998

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The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the...

NIGHT

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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