A superb, highly readable addition to the history of 20th-century American letters.
Allen Ginsberg, gay beatnik/hippie antinomian poet nomad—and American hero?
Morgan, Ginsberg’s longtime bibliographer and archivist, responsible for the sale of Ginsberg’s papers to Stanford University and thus for Ginsberg’s relative comfort in his last, dying days, is also an excellent writer and storyteller. His massive life of the poet turns out to be flawed only by its brevity. The year 1994 gets five pages, for instance; in that year, Ginsberg taught college, studied Buddhism, wrote, gave and hosted readings, starred in a Gap ad campaign to fund the Naropa Institute, released a four-CD box set of musical compositions and hung out in San Francisco and Paris, all the while nursing a bad heart. Morgan situates Ginsberg’s life in a Jewish radical tradition, in an ethnic ethic of hard work, learning and resistance to authority; sadly, Ginsberg’s corner of the shtetl was also visited by mental illness, his mother institutionalized, as the poet himself would be. A nice boy of academic gifts and even genius, Ginsberg fell into the wrong crowd on entering college, with the likes of Jack Kerouac, William Burroughs and Lucien Carr; for his troubles, he would be constantly broke, be expelled from Columbia, be jailed, be hospitalized—and also be liberated to write such epochal poems as Howl and Kaddish, which, half a century on, are regarded as nearly canonical. In the great spirit of honor among thieves, Ginsberg remained poor and free for most of his life, doing very much as he wanted (as evidenced, among other things, by being treated for STDs many, many times). Some of the bits of news that float out of Morgan’s lyrical narrative: Ginsberg was one of the earliest experimenters with LSD. He traveled everywhere and knew everyone. He suffered from stage fright. He was fearless and selfless—hence the hero rubric. Oh, and Jack Kerouac never had a driver’s license.
A superb, highly readable addition to the history of 20th-century American letters.Pub Date: Oct. 9, 2006
ISBN: 0-670-03796-6
Page Count: 720
Publisher: Viking
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 1, 2006
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BOOK REVIEW
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.
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
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 REVIEW
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