by Thornton Wilder ‧ RELEASE DATE: Oct. 24, 1979
The three-part title essay here is Wilder's reworking of sections from his 1950 Norton lectures at Harvard — and, though hardly profound, it shows Wilder at his most topsyturvy thoughtful and folksy-smart eloquent. His theme is the independent, "disconnected" American personality, how it changed literature's English English into American English. And, from his opening gambit ("When I think of those who founded this country I soon find myself thinking of those who did not come") through discussions of Thoreau, Whitman, and Moby Dick ("The first eleven pages . . . are the worst kind of English English"), he's endearingly provocative, at his very best on Emily Dickinson: she "enjoyed many a witches' sabbath with the language"; her forms of speech are those of "a winning child . . . the bright remarks that set the dinner table laughing"; and when she suddenly stops rhyming, "the effect is as of a ceiling being removed from above our heads." But the other 200+ pages here, alas, are on a much lover level: dated dramatic theory; an ode to Oedipus Rex and a so-so putdown of Shaw ("he could only think by ricochet"); mild toyings with Goethe and Joyee; pedantic glosses on the work of friend Gertrude Stein; eulogies and (!) research papers. A weak potpourri, then, not quite justified by that one grand essay.
Pub Date: Oct. 24, 1979
ISBN: 158348387X
Page Count: 320
Publisher: Harper & Row
Review Posted Online: April 12, 2012
Kirkus Reviews Issue: Oct. 1, 1979
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by Thornton Wilder & edited by Donald Gallup
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by Elijah Wald ‧ RELEASE DATE: July 25, 2015
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
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by Elijah Wald
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BOOK TO SCREEN
BOOK TO SCREEN
BOOK TO SCREEN
by William Strunk & E.B. White ‧ RELEASE DATE: May 15, 1972
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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