A molehill of old lectures—some of them brilliant, all of them at least worth skimming through—that will probably get made...
The prolific critic Bloom (Shakespeare, 1998, etc.) has courted controversy in the last few years with his denunciations of the politically correct “School of Resentment” that now dominates most universities—and he has not been discreet in his attacks on many of the writers (such as Toni Morrison) that this school holds in highest esteem. Here, he carries his arguments to an even more fundamental level, demanding that we consider what the point and purpose of literature can be in an age where information has gone far beyond the verbal forms in which literature subsides. “Information is endlessly available to us,” he points out, “where shall wisdom be found?” Naturally, Bloom finds it in the great writers of the Western tradition, and he proceeds to tell us just how great they (i.e., Hemingway, Shakespeare, Faulkner, Austen, Dickens, Chekhov, Cervantes, etc.) are—and why. As with most of Bloom’s more recent works, the great controversy here is not what he says, but whom he chooses to say it about, and the many debates that he will set off are likely not to get past his table of contents. Which will be a pity, frankly, because Bloom’s insights into just about anything can be worth all of his postures.
A molehill of old lectures—some of them brilliant, all of them at least worth skimming through—that will probably get made into a mountain of academic politics.Pub Date: June 5, 2000
ISBN: 0-684-85906-8
Page Count: 235
Publisher: Scribner
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 1, 2000
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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
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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