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FALLING LEAVES

THE TRUE STORY OF AN UNWANTED CHINESE DAUGHTER

A well-told ``wicked stepmother'' story, with the vicious backdrop of racial inequality. Growing up in a wealthy Chinese family (first in Tianjin, then in Shanghai), Mah, born in 1937, is considered unlucky because her mother died giving birth to her. Her father marries a beautiful Eurasian woman, Jeanne, whom the children call Niang. Niang begrudges her stepchildren train fare to school while her own children are served tea in their rooms and are treated to beautiful new clothes. Mah's father, Joseph, too, mistreats his first wife's children. The family has a racial hierarchy; in marrying a partly French woman, Joseph hoped to improve his social statushis full-blooded Chinese children probably reminded him that he, too, was Chinese. But Mah, more willing than the others to defy Niang, is singled out for cruelty. The other six children, following Niang's lead, pick on her, too. She is physically beaten and constantly insulted; she isn't allowed to have friends; her beloved pet duckling is fed to her parents' dog, deliberately and for sport. Her childhood is only bearable because her aunt Baba loves her and believes she's destined for success. An exceptional student, Mah is allowed to study medicine in England, where, free of her stepmother, she is happier than she's ever been. Eventually settling in the US, she marries, divorces, and finds happiness in motherhood, her work as a doctor, and an eventual second marriage. But the Yen family drama goes on: When Joseph dies, Niang cheats all of the children out of his fortune. Then when Niang dies, Mah, who thought she was on good terms with her stepmother toward the end, finds herself completely and inexplicably disowned. The betrayals and conspiracies surrounding that incident are nearly as chilling as those she suffered in her childhood. A compelling story of family cruelty.

Pub Date: March 13, 1998

ISBN: 0-471-24742-1

Page Count: 288

Publisher: Wiley

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Jan. 1, 1998

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NIGHT

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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DYLAN GOES ELECTRIC!

NEWPORT, SEEGER, DYLAN, AND THE NIGHT THAT SPLIT THE SIXTIES

An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s...

Music journalist and musician Wald (Talking 'Bout Your Mama: The Dozens, Snaps, and the Deep Roots of Rap, 2014, etc.) focuses on one evening in music history to explain the evolution of contemporary music, especially folk, blues, and rock.

The date of that evening is July 25, 1965, at the Newport Folk Festival, where there was an unbelievably unexpected occurrence: singer/songwriter Bob Dylan, already a living legend in his early 20s, overriding the acoustic music that made him famous in favor of electronically based music, causing reactions ranging from adoration to intense resentment among other musicians, DJs, and record buyers. Dylan has told his own stories (those stories vary because that’s Dylan’s character), and plenty of other music journalists have explored the Dylan phenomenon. What sets Wald's book apart is his laser focus on that one date. The detailed recounting of what did and did not occur on stage and in the audience that night contains contradictory evidence sorted skillfully by the author. He offers a wealth of context; in fact, his account of Dylan's stage appearance does not arrive until 250 pages in. The author cites dozens of sources, well-known and otherwise, but the key storylines, other than Dylan, involve acoustic folk music guru Pete Seeger and the rich history of the Newport festival, a history that had created expectations smashed by Dylan. Furthermore, the appearances on the pages by other musicians—e.g., Joan Baez, the Weaver, Peter, Paul, and Mary, Dave Van Ronk, and Gordon Lightfoot—give the book enough of an expansive feel. Wald's personal knowledge seems encyclopedic, and his endnotes show how he ranged far beyond personal knowledge to produce the book.

An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s personal feelings about Dylan's music or persona.

Pub Date: July 25, 2015

ISBN: 978-0-06-236668-9

Page Count: 368

Publisher: Dey Street/HarperCollins

Review Posted Online: May 15, 2015

Kirkus Reviews Issue: June 1, 2015

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