Engagingly written, sharply observed: another winner from Theroux.
America’s master traveler (Fresh Air Fiend, 2000, etc.) takes us along on his wanderings in tumultuous bazaars, crowded railway stations, desert oases, and the occasional nicely appointed hotel lobby.
“All news of out Africa is bad,” Theroux gamely begins. “It made me want to go there.” Forty years after making his start as a writer while serving as a Peace Corps volunteer in Malawi, he returns for a journey from Cairo to Cape Town along “what was now the longest road in Africa, some of it purely theoretical.” More reflective and less complaining than some of his other big-tour narratives (e.g., The Happy Isles of Oceania, 1992), Theroux’s account finds him in the company of Islamic fundamentalists and dissidents, sub-Saharan rebels and would-be neocolonialists, bin Ladenites, and intransigent white landholders, almost all of them angry at America for one reason or another. The author shares their anger at many points. Of the pharmaceutical plant outside Khartoum that was flattened by a cruise missile on Bill Clinton’s orders a few years back, he remarks, “Though we become hysterical at the thought that someone might bomb us, bombs that we explode elsewhere, in little countries far away, are just theater, of small consequence, another public performance of our White House, the event factory.” Such sentiments are rarely expressed in post–9/11 America, and Theroux is to be commended for pointing out the consequences of our half-baked imperializing in Africa’s miserable backwaters. His criticisms cut both ways, however; after an Egyptian student offends him with the remark, “Israel is America’s baby,” he replies, “Many countries are America’s babies. Some good babies, some bad babies.” Theroux is often dour, although he finds hopeful signs that Africa will endure and overcome its present misfortunes in the sight, for instance, of a young African boatman doing complex mathematical equations amid “spitting jets of steam,” and in the constant, calming beauty of so many African places.
Engagingly written, sharply observed: another winner from Theroux.Pub Date: March 28, 2003
ISBN: 0-618-13424-7
Page Count: 496
Publisher: Houghton Mifflin
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 15, 2002
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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