Mixing mournful self-interrogation about sex, art, and politics; less than lucid delvings into spiritual matters; and wry chatter about acquaintances both obscure and celebrated, Isherwood's voluminous diaries provide rather too wide a window onto the eminent novelist and memoirist's foibles. Isherwood emigrated to America from England in 1939, and during the years covered here he lived in Los Angeles, worked as a screenwriter, studied and wrote about Vedanta Hinduism, wrote novels (Prater Violet, The World in the Evening, and most of Down There on a Visit), and had a few major love affairs. Close to half of this volume covers the first five years of Isherwood's expatriatism. Edited and annotated heavily by the author himself in 1946, these wartime diaries are sprinkled with the kind of artfully ironic character sketches familiar to readers of Isherwood's novels. The author socialized with the likes of Aldous Huxley, Charlie Chaplin, and Greta Garbo, but much of his time was spent with his guru and fellow disciples of Vedanta, which his musings do not enliven for the reader. Isherwood was criticized for not returning to Britain during the war; he is forthright here about his pacifism. Fussing about the obligations imposed by his swami and his lovers, the author indulges in mopy rants that tire even himself: ``I'm so bored with myself. . . . The whole of this diary is becoming a bore. Let's snap out of it. Come on, St. Augustine—amuse us. A little less about your sins.'' After substantial ellipses, the diaries become less consistently fretful in the mid-'50s, when Isherwood met the artist Don Bachardy, who would remain his companion until Isherwood's death in 1986. Tennessee Williams, Gore Vidal, Igor Stravinsky, Somerset Maugham, and a raft of movie stars were Isherwood's pals in the '50s; finally, after hundreds of pages in which the creative process seldom merits a mention, Isherwood occasionally comes alive as a working artist in the latter entries. Maundering, prolix, altogether daunting.
Pub Date: Jan. 6, 1997
ISBN: 0-06-118000-9
Page Count: 1056
Publisher: HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 15, 1996
For Howard Zinn, long-time civil rights and anti-war activist, history and ideology have a lot in common. Since he thinks that everything is in someone's interest, the historian—Zinn posits—has to figure out whose interests he or she is defining/defending/reconstructing (hence one of his previous books, The Politics of History). Zinn has no doubts about where he stands in this "people's history": "it is a history disrespectful of governments and respectful of people's movements of resistance." So what we get here, instead of the usual survey of wars, presidents, and institutions, is a survey of the usual rebellions, strikes, and protest movements. Zinn starts out by depicting the arrival of Columbus in North America from the standpoint of the Indians (which amounts to their standpoint as constructed from the observations of the Europeans); and, after easily establishing the cultural disharmony that ensued, he goes on to the importation of slaves into the colonies. Add the laborers and indentured servants that followed, plus women and later immigrants, and you have Zinn's amorphous constituency. To hear Zinn tell it, all anyone did in America at any time was to oppress or be oppressed; and so he obscures as much as his hated mainstream historical foes do—only in Zinn's case there is that absurd presumption that virtually everything that came to pass was the work of ruling-class planning: this amounts to one great indictment for conspiracy. Despite surface similarities, this is not a social history, since we get no sense of the fabric of life. Instead of negating the one-sided histories he detests, Zinn has merely reversed the image; the distortion remains.
Pub Date: Jan. 1, 1979
ISBN: 0061965588
Page Count: 772
Publisher: Harper & Row
Review Posted Online: May 26, 2012
Kirkus Reviews Issue: Jan. 1, 1979
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
However charily one should apply the word, a beautiful book, an unconditionally involving memoir for our time or any time.
Maya Angelou is a natural writer with an inordinate sense of life and she has written an exceptional autobiographical narrative which retrieves her first sixteen years from "the general darkness just beyond the great blinkers of childhood."
Her story is told in scenes, ineluctably moving scenes, from the time when she and her brother were sent by her fancy living parents to Stamps, Arkansas, and a grandmother who had the local Store. Displaced they were and "If growing up is painful for the Southern Black girl, being aware of her displacement is the rust on the razor that threatens the throat." But alternating with all the pain and terror (her rape at the age of eight when in St. Louis With her mother) and humiliation (a brief spell in the kitchen of a white woman who refused to remember her name) and fear (of a lynching—and the time they buried afflicted Uncle Willie under a blanket of vegetables) as well as all the unanswered and unanswerable questions, there are affirmative memories and moments: her charming brother Bailey; her own "unshakable God"; a revival meeting in a tent; her 8th grade graduation; and at the end, when she's sixteen, the birth of a baby. Times When as she says "It seemed that the peace of a day's ending was an assurance that the covenant God made with children, Negroes and the crippled was still in effect."
However charily one should apply the word, a beautiful book, an unconditionally involving memoir for our time or any time.Pub Date: Feb. 1, 1969
ISBN: 0375507892
Page Count: 235
Publisher: Random House
Review Posted Online: May 14, 2012
Kirkus Reviews Issue: Feb. 1, 1969
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