In this short collection of essays (some previously published in Antaeus and other literary reviews), Pulitzer Prizewinning poet Simic (Hotel Insomnia, 1992, etc.) brings off a masterfully casual beauty, whether discussing the creation of poetry and the poet's social role, praising food and the blues, or relating the travails of youth. Suspicious of all absolutist thought, the Yugoslavia-born Simic (English/Univ. of New Hampshire) is a committed individualist and, like some Eastern bloc poets who have endured socialist realism, a humorous surrealist. In deceptively discursive and casual prose, he touches on simple subjects to delve into deeper matters—for example, an autobiographical sketch chronicles his search for the meaning of human happiness in terms of favorite dishes, including Yugoslavian burek and American potato chips. Whether the subject matter is as academic as Surrealist composition, or as contemporary as the genetic engineering of his favorite fruit, the tomato, Simic gregariously mixes personal conversations with literary quotations (or, just as appositely, folk sayings and songs), and his prose can suddenly flare up into startling images: ``Words make love on the page like flies in the summer heat.'' These essays' variety of approaches and subjects shows the eclectic mix of true multiculturalism, for Simic is an intellectual in the postwar model of immigrant cum exile, versed in European traditions yet enthusiastic about American culture as well. This comes into sharpest relief in his essay on murderous nationalism in Yugoslavia and his album of snapshot reminiscences of Belgrade, Chicago, and New York City. Sometimes, though, Simic's light touch fails to leave a lasting impression on the serious philosophical subjects he addresses, his selection of notebook aphorisms are hit-or-miss, and a couple of brief essays are simply culled from introductions. In one odd notebook jotting Simic projects creating a ``nongenre made up of fiction, autobiography, the essay, poetry, and of course, the joke!''—an apt description of this collection's hodge-podge charm.
Pub Date: Nov. 1, 1994
ISBN: 0-472-09569-2
Page Count: 144
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 1, 1994
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
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
BOOK TO SCREEN
BOOK TO SCREEN
BOOK TO SCREEN
This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)
Pub Date: Oct. 28, 1996
ISBN: 0-15-100227-4
Page Count: 136
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1996
BOOK REVIEW
BOOK REVIEW
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