A journey through Equatorial Africa to study the fate of elephants and other wildlife produces a somber chronicle of irrevocable loss, relieved only by noted naturalist and novelist Matthiessen's lucid prose and concluding intimations of some redress. Matthiessen, a frequent traveler to Africa, began his investigation with a visit in the late 1970's to Senegal, Gambia, and the Ivory Coast, where the encroaching Sahel, unbridled hunting, and burgeoning populations had almost destroyed the elephant and wildlife population as well as the indigenous forest. As Matthiessen accompanied naturalists through the few preserves, often run-down and small, it became clear that the situation was even more grave than anticipated—``the animals are so scarce that they have no reality in daily life.'' It was a loss that went beyond conventional needs for preservation, for these animals have been the traditional totems and protectors of the clans. In 1986, Matthiessen returned to study the forest elephants of Gabon and Zaire, an area where ``a great silence'' descended after the depredations of the slave trade ended, allowing elephants to increase. But more recently, local wars and the enormous demand for ivory have ended this growth. In these equivalents of the Amazon rain forest, Matthiessen and his companions met pygmies, observed gorillas, and established that there are indeed two distinct kinds of elephants: forest and savannah, with a large intermediary hybrid group that wanders between the forest and grassland. The recent ban on ivory offers some hope of preserving the elephant, a species that, excepting fire and man, has ``more impact on habitat than any force in Africa.'' There are the usual incidents and frustrating run-ins with local bureaucrats, but Matthiessen offers much more: a moving and never-sentimental evocation of loss to both man and beast, infused with sympathy and realism. Vintage Matthiessen.
Pub Date: July 1, 1991
ISBN: 0-679-40021-4
Page Count: 240
Publisher: Random House
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 15, 1991
The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the...
Elie Wiesel spent his early years in a small Transylvanian town as one of four children.
He was the only one of the family to survive what Francois Maurois, in his introduction, calls the "human holocaust" of the persecution of the Jews, which began with the restrictions, the singularization of the yellow star, the enclosure within the ghetto, and went on to the mass deportations to the ovens of Auschwitz and Buchenwald. There are unforgettable and horrifying scenes here in this spare and sombre memoir of this experience of the hanging of a child, of his first farewell with his father who leaves him an inheritance of a knife and a spoon, and of his last goodbye at Buchenwald his father's corpse is already cold let alone the long months of survival under unconscionable conditions.
Pub Date: Jan. 16, 2006
ISBN: 0374500010
Page Count: 120
Publisher: Hill & Wang
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: Jan. 15, 2006
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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