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Cover of GIRL WITH THE SILVER HAIR

GIRL WITH THE SILVER HAIR

by their military\u002Dofficer parents they are a post\u002Dnuclear\u002Dapocalypse evolution of mankind, crucial to the survival of a subterranean, locked\u002Ddown United States beset by savage enemies on Earth’s radiation\u002Dscarred surface. Eten is directed to use her deadly brainwaves on an accused “terrorist” leader, but she begins to doubt the tales being fed to her. It transpires that the kids are part of “Project Samson,” an initiative by the American military and government to grow DNA\u002Dmodified test\u002Dtube embryos into weaponized, ESP\u002Daugmented assassins. The Pentagon powers behind Project Samson have learned that maintaining control over these super\u002Dbeings grows difficult over time—especially when the subjects reach puberty—and uncooperative members of the group have been summarily killed. How long can Eten hide her wrathful discontent and rely on the dubious protection offered by a sympathetic guard, or her faux “mom” and “dad”? The premise of youngsters being cultivated by Black Ops agencies as mutant secret weapons is not an original one (there are similar tales by Dean R. Koontz, Stephen King, and John Farris), but Seupel’s take proceeds in an effective, straight\u002Dahead fashion as Eten, a stranger to concepts such as money or menstruation, becomes a fugitive in the “real world”—a very familiar one in the YA\u002Ddystopian genre in which an unjust society is threatened by rising sea levels and violently authoritarian adults. (Trying to ingratiate herself with the fascistic power structure, Eten proclaims, “More than anything in the world, I want to defend our country and make America great again.”) With such strong forward momentum, the material will not require psychic pushes to compel readers to barrel through in one sitting."4.7/5(10)

Cover of GLORY, GRIT AND GREATNESS

GLORY, GRIT AND GREATNESS

by what he perceived as the lack of reverence many Americans have for military heroes. This observation, combined with what Carr believes to be a declining historical awareness among young people, prompted the author to write this work, which surveys American heroes “from many eras and walks of life.” The book’s nine chapters can essentially be divided into two categories: biographies of soldiers and those of various historical icons. Many of the war heroes are lesser\u002Dknown figures, such as those covered in the opening chapter on the Torpedo Plane Squadrons of the Battle of Midway. Readers are offered inspirational vignettes about such men as Lloyd Childers, who came from poverty but eagerly volunteered to serve at the outbreak of World War II, and John Thomas Eversole, a graduate of the U.S. Naval Academy who was among the first American airmen killed in the opening stages of the battle. Other chapters focus on more well\u002Dknown names, from business tycoon John D. Rockefeller and President Calvin Coolidge to boxer Rocky Marciano and songwriter Irving Berlin. These chapters provide sweeping overviews of each individual’s life and contributions while reveling in the idiosyncrasies of the subjects\u003B Rockefeller, readers learn, swallowed a spoonful of olive oil each day and had a proclivity for “canoodling” women in his town car after the death of his wife, while Coolidge refused to install a telephone in his White House office (“the better to avoid chitchat”). A chronic workaholic, Berlin worked on his songs “in taxis and restaurants and while shaving,” and even brought a piano with him on vacations.While not shying away from personal flaws, such as Marciano’s taste for philandering or Rockefeller’s “cutthroat” business practices, the book’s overall tone is celebratory, which may come off as overly hagiographic to skeptical readers. (The same cutthroat Rockefeller, for instance, is subsequently praised for his philanthropy and religiosity.) While generally nonpartisan in his approach to American history, the author unnecessarily wades into contemporary culture wars in his introduction, declaring the work is “for people like [him] who are fed up with America bashing, who would rather salute our flag than sully it.” The book is generally well\u002Dresearched\u003B each chapter is accompanied by its own bibliography. (The sources cited, including works published by contemporary academics over the last decade, contradict Carr’s argument that modern American history books have “either left out or glossed over” heroes of the past.) Aside from the politically charged opening pages and the author’s implied critiques of contemporary history teachers and scholars, the book’s biographical vignettes are written in a welcoming, engaging style that blends encyclopedic overviews with fascinating trivial details. Many include dialogue and novel\u002Dlike scene\u002Dsetting that immerse the reader in the past. The text’s ample inclusion of photographs supplements the work’s engaging and absorbing storytelling. And while all but one of the chapters focus on men (Irving Berlin shares the spotlight with Kathryn Elizabeth Smith, the “First Lady of Radio,” in their combined chapter), the author is careful to emphasize the role of women, albeit in supporting roles, in shaping the lives of his male subjects."5.0/5(1)

Cover of GOAT MAGIC

GOAT MAGIC

by good fortune, Trill’s magic power is the ability to communicate with goats. Alya, in her goat form, hides from her assailants among Trill’s herd. The girls get off to a rocky start—sheltered Alya has some high\u002Dhanded ways that make Trill bristle—but ultimately, Trill agrees to help the princess. The girls must move quickly, however: Aunt\u002DU, a friend of Trill’s mother whom they seek out for help, informs them that if they don’t destroy the talisman used to place the curse within a month, Alya will remain a goat forever. This fantasy story reads like a classic fairy tale and explores themes of trust in oneself and greater awareness of others. The friendship and love that blossom between Alya and Trill feel natural and endearing. The cartoonlike illustrations employ warm colors that match the tone of the story. Wheeler’s worldbuilding emerges organically from interactions between the characters, sustaining a fast pace and avoiding lengthy explanations. Alya has tan skin, and Trill has medium\u002Dbrown skin."4.1/5(138)

Cover of GOETHE

GOETHE

by a history of 18th\u002Dcentury ideas? How did he make, and respond to, 19th\u002Dcentury ways of looking at the world? Behind all his work is this: What is human nature and what is the place of humankind in the natural world? The great scholarly achievement of this book lies in its synthesis of Goethe’s personal writing (especially his letters) with his public work. It shows how he created modern German as a language for a people—how the German\u002Dspeaking peoples, scattered across small kingdoms, duchies, and imperial lands, could find unity in a literary heritage. This book does not ignore the paradoxes of Goethe’s life. A man of great faith, he was an indefatigable analyst of nature. A proponent of human freedom, he could consort with despots. Goethe enabled us to find philosophy in literature, much as he sought faith in Shakespeare and the Greeks. Bell, a professor at King’s College London, distills an ethical lesson from that search: “Faith is…an expression of compassion. What matters is that our compassion engages with the world….The natural human capacity to feel concern or compassion, rooted deep in our nature, dwarfs any reasoning about good or evil or otherwise of religious doctrine.” That is the lesson of literature, and that is the lesson of this amazing book."

Cover of GOOD AND EVIL AND OTHER STORIES

GOOD AND EVIL AND OTHER STORIES

by an eerie threat (a ghostly cat, a telepathic neighbor, a violent guest), we realize we have been party to a central human truth. Some revelations come in the form of body horror, and the gore can be hilariously goofy—a welcome lightness to the more somber scenes of tender caretaking (or unapologetic cruelty). Schweblin and veteran translator McDowell trace the slim barrier between perception and reality with masterful narration, piercing dialogue, stealthy wit, and psychological precision."4.0/5(4,314)

Cover of GRACE PERIOD

GRACE PERIOD

by selling the house, Mateus has the opportunity to leave the past behind, but the re\u002Demergence of the much denuded Graça in his life, along with his introduction to her chaotic, sensualist daughter, Natália, and Alberta’s steady, phlegmatic decline forces Mateus to confront the fact that the past may be the only time in his life that still feels worth living. Through prose that is both melancholy and brutally keen, this midcentury master’s eye for the scintillating detail at the heart of even the most mundane observation loses nothing in its translation from its original language, culture, or time."4.3/5(10)

Cover of GRAND FINALES

GRAND FINALES

by religion, the Civil Rights Movement, and social injustice to find new outlets for their talents and new ways to engage with the world. Gubar cites many other aging women—artist Faith Ringgold and designer Iris Apfel, and writers Grace Paley, Ursula K. Le Guin, Margaret Atwood, and Annie Ernaux, among others, to ring in on the lively possibilities—of productivity, connection, and reinvention—in one’s last years."4.0/5(21)

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