This last testament by American cultural icon Burroughs (Ghost of Chance, 1995, etc.) comprises the disjointed diary entries the terminally ill author jotted down between November 14, 1996, and August 1, 1997. In one diatribe after another, the self-described writer, scribe, and—by ancient analogy—priest addresses a host of topics from US drug policy to feline purring habits. While most of his ramblings are incoherent, one message is heard loud and clear: What the American Narcotics Department is doing is pure Evil. Burroughs tirelessly extols the benefits of cannabis as a painkiller and an aphrodisiac, attributing his own best writing to its stimulating effect. Disposing of political leaders as "certifiably insane," he goes on to attack "American values" for their blunt hypocrisy, psychoanalysis for shifting responsibility and overlooking the organic causes of many disorders, Bible Belt Christianity for "ignorance, stupidity, and barely-hidden bigotry," and feminists for humorless self-righteousness. When Burroughs shows rare signs of affection, it is directed either to his house cats or to friends like Allen Ginsberg, whom he lauds for publicly addressing "explicit homo-sex." Despite citations of Keats, Verlaine, Villon, Stein, and Fitzgerald, literary matters rank low on Burroughs's priority list. He shows some concern for the future of writing, but his brief remarks about his own reading material—ranging from spy novels to The New Yorker—are uninspiring. His bodily functions preoccupy him far more, and the reader will be repeatedly informed about "the toll Chinese food took" on his gut, and his sensations after a cataract operation. Dreams about sex (often with strangers), insects, and pets are central to most entries. The telegraphic style is mitigated by epigrammatic witticisms ("As for Humanity, most of them is only good to feed cats") and puns ("Gingrich, Squeaker of the House"). Perhaps not intended for the public eye and definitely in need of heavy editing, these notes may disappoint even the most fervent Burroughs fans.
Pub Date: Feb. 1, 2000
ISBN: 0-8021-1657-4
Page Count: 320
Publisher: Grove
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 1, 2000
BOOK REVIEW
BOOK REVIEW
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
© Copyright 2025 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
