Less a memoir than a handful of experiences shaped into short vignettes. Western novelist and historian Brown (Conspiracy of Knaves, 1987; Bury My Heart at Wounded Knee, 1971, etc.) turns to his own colorful past for material in this engaging account. From his small-town Louisiana and Arkansas origins to his lengthy career as an agricultural librarian at the University of Illinois, Brown has seen most of the 20th century, his memories reflecting to a considerable degree the vast changes wrought in America during this time. Working at the age of 12 as an occasional letter-carrier for the Post Office, Brown witnessed the oil boom in southern Arkansas before moving into the heart of the Ozarks for his first newspaper job. A degree in library science from George Washington University offered few employment prospects during the Depression, so, with the onset of WW II, the author found himself a soldier, albeit one in privileged circumstances as a participant in the Army's Specialized Training Program. Forgotten, along with his unit, for a year while he studied at the University of Pennsylvania, Brown eventually served as a librarian near Washington, until the military's combination of cold war hysteria and hypocrisy prompted him to return to civilian life. At the University of Illinois, Brown befriended a personable Pakistani who wanted to use an American education to rise above his caste back home, and, on another occasion, the author found himself in a comic situation at the Missouri Botanic Gardens; throughout his narrative, self-effacement triumphs (reference to his bestsellers and other books is limited to a four-page epilogue). Fragments of a life that are told easily and with charm; as a whole, however, the narrative is much less than the sum of its parts. (Twenty-three b&w photographs)
Pub Date: Sept. 20, 1993
ISBN: 0-87483-267-5
Page Count: 224
Publisher: August House
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 1993
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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