Fans of Theroux will say that he hasn’t lost his touch; the more critical will say that he breaks no new ground. Either way,...
Travel writer and novelist Theroux (The Elephanta Suite, 2007, etc.) offers an elegiac retracing of roads and railroads taken across the vastness of Eurasia.
Rejoining his 1975 travelogue The Great Railway Bazaar, Theroux takes to the chemin de fer from London to Kyoto four decades older and, it seems, more inclined to the better things in life (“a woman in a blue uniform brought me a bottle of Les Jamelles Chardonnay Vin de Pays d’Oc 2004 . . . and then the lunch tray: terrine de poulet et de broccolis, chutney de tomates, the entrée a fillet of lightly peppered salmon, with coup de chocolat for dessert”). He is a touch rueful and more than a touch reflective, viewing his metaphorically mirrored self in the sleeping-compartment window and thinking of marriages, friendships and youth lost. The meditative aspect soon yields to Theroux’s testy, Kiplingesque impatience with the cultures east of Folkestone, to his allergy to the “Asiatic ambiguity” that lies before him. He is willing to debate such things with the people he meets, unafraid to argue the relative merits of Western civilization vis-à-vis Islam, to name just one topic of conversation. As with his previous books, Theroux is unafraid of roughing it in the interest of getting a story, and some of his new memoir’s best moments find him stealing across snowy, remote borders, “like a specter, in a strange country at nightfall,” only to have his strength and compass restored by a delicious bottle of wine or morsel. Theroux wanders to places that scarcely cross most other travel writers’ minds, among them Vientiane (“a sleepy town on the banks of the muddy river, famous for its cheap beer”) and Phnom Penh (“scruffy, rather beaten-up…like a scarred human face in which its violent past was evident”). He also keeps up a running argument with the books he reads along the way, to say nothing of his contemporaries (Chatwin never traveled alone, he harrumphs, and neither does bête noire Naipaul).
Fans of Theroux will say that he hasn’t lost his touch; the more critical will say that he breaks no new ground. Either way, worth looking into.Pub Date: Aug. 18, 2008
ISBN: 978-0-618-41887-9
Page Count: 464
Publisher: Houghton Mifflin Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 15, 2008
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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