Seventeen essays from the Magazine of Fantasy and Science Fiction form this latest Asimov anthology. What's neat about the group is that rather than present random reviews, the essays are connected serially, laid out nicely in four major areas: physical chemistry, biochemistry, geochemistry and astronomy. The themes represent an interesting reprise of 19th- and 20th-century science. Physical chemistry focuses on batteries and, naturally, on electricity and magnetism, first from the point of view of the Galvanis and Voltas, the Oersteds, Faradays and Henrys, down to the postwar transistor era and current work on fuel and solar cells. One can imagine 12-year-olds reading these chapters virtually as do-it-yourself recipes for running wires around iron cores or making their own voltaic piles. Biochemistry is a treat for nutritionists. Asimov concentrates on the history of the discovery of vitamins and trace elements necessary for life. He reviews the classic experiment of British surgeon James Lind, who fed oranges and lemons to sailors to prove that the fruits would prevent scurvy (but alas did not live to see his advice heeded), down to the 20th-century stories of beriberi, pellagra and pernicious anemia. Biochemist Asimov is excellent here as he explains how vitamins work and why some need a "coenzyme" to do the job. Geochemistry plays upon the theme of tunneling to the center of the earth. Asimov unravels the mysteries of mass, temperature, and magnetism and how discoveries of radioactivity and devices like the seismograph have built up the present picture of the earth as thin crust atop a mantle over inner solid and liquid cores. Part four, culminating in the title essay—are Asimovian speculations on stars, planets, and space, beginning with a fine historical essay on time measurement, and ending with thoughts on where the universe is headed. To reach that climax, Asimov introduces concepts of "the Void," interstellar molecules and dust, the notion of superstars (not to be confused with supernovae), and the unresolved astronomical problem of the "missing Mass." Asimov presents alternatives (his own, he confesses) that would make it possible for universes to form and reform even if the present mass is insufficient to prevent an endless expansion and recession of galaxies. Here Asimov the scientist and science-fiction writer meet in an artless, seamless way that marks the man as formidable and readable as ever.
Pub Date: Feb. 6, 1987
ISBN: 0586202811
Page Count: -
Publisher: Doubleday
Review Posted Online: Sept. 16, 2011
Kirkus Reviews Issue: Jan. 15, 1987
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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