Ever since Art Spiegelman’s “Maus” won a Pulitzer Prize, no apologies need to be made for the aspirations of comic book artists to enter the realm of literature. R. Crumb, for example, recently rendered nothing less exalted than the Book of Genesis as a graphic novel. And Marjane Satrapi applied the same techniques to a best-selling work of memoir in “Persepolis.”
Not long ago, I reviewed Peter Longerich's benchmark biography of Heinrich Himmler in these pages -- a work of meticulous and compelling scholarship about the master architect of the Final Solution, a mostly ordinary human being whose claim on history is that he succeeded in putting Hitler's apocalyptic fantasies about mass murder into operation on an industrial scale.
Among the many Roths who figure importantly in Jewish letters — Henry, Cecil and Philip are only the most famous — perhaps the least celebrated is Joseph Roth. As a novelist (“The Radetzky March”) and an essayist (“The Wandering Jews”), but even more crucially as a foreign correspondent for German newspapers during the 1920s and early 1930s, Roth was an eyewitness to the great events of the 20th century.
Over the many years I've spent bumping around the book business, I have introduced my wife, Ann, to a great many literary lions and lionesses, but nothing quite compares to the evening when we first met Dora Levy Mossanen at a book-signing for John Rechy at Dutton’s in Brentwood.
Ronald Reagan, Shirley Temple, Sony Bono, George Murphy and Arnold Schwarzenegger are all entertainers who launched their political careers in California, and they are all Republicans. Indeed, aside from Al Franken, no prominent Democratic officeholder on the scene today started out in the entertainment industry.
No book is regarded with more fear and loathing in the West than the Qur’an, the fundamental religious text of Islam, and yet I am confident that most people who are anxious about what is written in the Qur’an have never actually held a copy in their hands, much less opened it and read it.