A fruitful discussion of authorship.
A collection of question-and-answer sessions that offer in-depth insights into the writing craft.
Mendenhall (The Southern Philosopher, 2017), the editor of the Southern Literary Review, has long been drawn to interviews with creatives and artists—an interest that he’s fueled over the years by perusing the hallowed archives of the Paris Review. As an associate dean at the Jones School of Law at Faulkner University, it’s perhaps unsurprising that he’s also highly aware of the various ways in which “people respond differently to probing inquiry.” However, one never gets the sense that the 46 writers he interviews in this book are being put on the stand; on the contrary, Mendenhall’s lines of questioning are subtle, and he successfully fulfills his stated intention of letting “the writers do the talking.” This collection will familiarize readers with the approaches, techniques, and concerns of a diverse set of authors in a broad range of genres. Mendenhall’s interviewees include crime-fiction writer D.J. Donaldson, historical-romance novelist F. Diane Pickett, and (twice) poet and essayist Julia Nunnally Duncan, among many others. The Q-and-A’s touch on a spectrum of issues and offer rich and varied discussion as well as powerful sound bites. Memoirist Robert P. Waxler, for instance, offers compelling commentary on the importance of books in a world increasingly dominated by “screen culture”: “Screens invite us to watch, to surf the current that pulls us along. By contrast, books, especially literature…slow us down, offer an opportunity…to become self-reflective.” Historical novelist Steve Wiegenstein speaks of the exhilaration of writing: “It’s the closest I’ll ever get to walking the high wire.” And YA novelist Colleen D. Scott writes of her desire to expose the impact of social segregation: “I fear that lately we are showing the signs that we might forget how important it is to recognize our similarities and cherish our differences.” A foreword by author and Mississippi State University professor Robert West, which ponders the construction and meanings of the words “discover” and “interview,” is mildly interesting, if superfluous. Overall, though, this is a delightfully engaging collection that will educate and inspire other writers.
A fruitful discussion of authorship.Pub Date: Jan. 4, 2019
ISBN: 978-1-73273-832-4
Page Count: 232
Publisher: Red Dirt Press
Review Posted Online: Nov. 20, 2018
Kirkus Reviews Issue: Jan. 1, 2019
Review Program: Kirkus Indie
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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BOOK TO SCREEN
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Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...
Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").Pub Date: May 15, 1972
ISBN: 0205632645
Page Count: 105
Publisher: Macmillan
Review Posted Online: Oct. 28, 2011
Kirkus Reviews Issue: May 1, 1972
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