Interview With History

Rating:
Summary: Interesting
Review: Fallaci's weaknesses are also her strengths. She's so passionate a journalist, you get a rush off her energy. But her passion also clouds her objectivity, so she seems often fanatical in her opinions and attitudes. If you want to experience the equivalent of reading an arm-waving passionate Italian, this is a worthy book.

Rating:
Summary: interview with history
Review: history is tradionally a slave to the powerful conquerers;it createsa perception of reality with a juandiced view.Oraina blends the present from the vantage point of hindsight looking deep into future.The CONTEPOROIES ARE PORTRAYED MAGNIficiently revealing thier weak innerselves.

Rating:
Summary: Interesting
Review: Perhaps it is silly in 1999 to write comments on a book from the mid-1970s. But people still comment on the Holy Bible and the Koran, don't they? And those two books are much older than "Interview With History." Right up front, Oriana Fallaci's Introduction states her position. [Only extreme propagandists claim to be completely objective]. Like her mother, Oriana has an intense dislike of political power; especially that practiced by tyrants. A World War II anti-Fascist Italian resistance fighter, Fallaci has the credentials to discuss political power and the politically powerful. Accordingly, her first interview presented in "Interview With History" is with Henry Kissenger. The man produces palpible revulsion in Fallaci but she heroically advances in her quest to extract candor from "Henry." Commenting in an aside on his Nobel Peace Prize, Fallaci simply writes, "Poor Nobel. Poor peace." Indeed, this courageous woman nearly brought down this powerful man when she gave the world a peek into his character by publishing her warts-and-all interview examining Kissenger's stomach turning hubris; this while Kissenger was at the height of his international influence and power over President Richard M. Nixon. When warranted, Fallaci can equally record kindly images such as in her interviews of King Hussein of Jordan or Golda Meir of Israel. However, in "Interview With History" the primary objective is the naked truth about her interviewees. Those wishing to peer deeply into the minds of the world's leading heroes and villains, and indeed who can enjoy such "nudity" should read this excellent and timeless book.

Rating:
Summary: Truth Refreshes: Fallaci squeezes truth out of the powerful
Review: Perhaps it is silly in 1999 to write comments on a book from the mid-1970s. But people still comment on the Holy Bible and the Koran, don't they? And those two books are much older than "Interview With History." Right up front, Oriana Fallaci's Introduction states her position. [Only extreme propagandists claim to be completely objective]. Like her mother, Oriana has an intense dislike of political power; especially that practiced by tyrants. A World War II anti-Fascist Italian resistance fighter, Fallaci has the credentials to discuss political power and the politically powerful. Accordingly, her first interview presented in "Interview With History" is with Henry Kissenger. The man produces palpible revulsion in Fallaci but she heroically advances in her quest to extract candor from "Henry." Commenting in an aside on his Nobel Peace Prize, Fallaci simply writes, "Poor Nobel. Poor peace." Indeed, this courageous woman nearly brought down this powerful man when she gave the world a peek into his character by publishing her warts-and-all interview examining Kissenger's stomach turning hubris; this while Kissenger was at the height of his international influence and power over President Richard M. Nixon. When warranted, Fallaci can equally record kindly images such as in her interviews of King Hussein of Jordan or Golda Meir of Israel. However, in "Interview With History" the primary objective is the naked truth about her interviewees. Those wishing to peer deeply into the minds of the world's leading heroes and villains, and indeed who can enjoy such "nudity" should read this excellent and timeless book.