In the 20th century, the French essayic mind may have tunneled to its deepest riches in the works of the late Roland Barthes. French esthetics, like any country's, can be indigestible (and untranslatable), but in Barthes a teasingly light touch leads readers into the most baffling blind alleys where gold dust shines on the bricks. In the present collection, Barthes and translator Howard are well met, with Barthes' own density reining in Howard's usual galloping abstractions. This is the second to appear of three posthumous sheafs of Barthes' half-scientific, half-charlatanesque word-arias on art, history, science, literature, and the study of signs. What is the rustle of language? "The rustle denotes a limit-noise; the noise of what, if it functioned perfectly, would make no noise. To rustle is to make audible the very evaporation of sound; the blurred, the tenuous, the fluctuating are perceived as signs of a sonic erasure. And language—can language rustle? As speech, it seems doomed to stuttering; as writing, to silence and to the distinction of signs; in any case, there is always too much meaning for language to afford a delight appropriate to its substance. Yet what is impossible is not inconceivable. The rustle of language forms a utopia. Which one? The utopia of meaning's music. . . It is the shudder of meaning that I want to interrogate here, as I listen to the rustle of language—of that language which is my nature as a modern man." That should clear things up, and readers wishing to see such theory put into practice may investigate Robert Coover's new novel, Gerald's Party, in which hardly a single sentence or paragraph arrives anywhere without experiencing the poetry of deflection from its object. Perhaps the two outstanding essays herein are "The Death of the Author," about the breakdown of the authorial voice into several voices in a text, which are subsequently reconstituted into a Single voice by the reader; and "Leaving the Movie Theatre," about the hypnosis of cinema halls, the dancing beam of the projector, Barthes' distancing himself from the image, and his becoming unglued from the screen in "backing out" onto the street. Even these pleasures, as do the most ripely reachable of Barthes' thoughts, deliquesce into the kind of muggy clarity following a triple cognac. But one reads on, forever intrigued by Barthes' stripping off of stickum tape from one's mental appliances.
Pub Date: March 1, 1986
ISBN: 0520066294
Page Count: 388
Publisher: Hill and Wang/Farrar, Straus and Giroux
Review Posted Online: Oct. 10, 2011
Kirkus Reviews Issue: Feb. 15, 1986
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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