In his polemic, Nobel laureate Solzhenitsyn is becoming more fanatical with each foray down from his Vermont mountain. His single-mindedness is here set on the distinction between the organism that is Russia and the disease which affects it, Soviet Communism. Reprinted from the Spring 1980 issue of Foreign Affairs, this short diatribe is directed at scholars, correspondents, and even Soviet émigrés who conspire, albeit unwittingly, in a specious blurring of this distinction. Solzhenitsyn's attacks on the likes of Harvard's Richard Pipes for creating the myth of the Russian character—whether understood as docile or aggressive—are well taken; but Solzhenitsyn is in the myth business himself. Ignoring the other peoples of the USSR, Solzhenitsyn's dream is of a purified Russia left alone with its ancient orthodoxy—purged, of course, of the atheistic communist heresy. Responding to his critics, Solzhenitsyn denies being a reactionary or a mystic, or even anti-Semitic (he simply believes in the return of Russian Jews—a misnomer, in his view—to their homeland, Israel). The reactionary side is there, though, in his idealization of pre-Bolshevik Russia, as yet untainted by the West's materialism, where toleration and Christian principles supposedly reigned supreme, an idealization that carefully ignores blemishes like orthodox-inspired pogroms or the cruel illiteracy of the vast peasantry and their domination by the Church. Solzhenitsyn's organic nationalism lays behind his dogmatic rhetoric, however much obscured.
Pub Date: June 18, 1980
ISBN: 0060908823
Page Count: 150
Publisher: Harper & Row
Review Posted Online: Oct. 5, 2011
Kirkus Reviews Issue: June 1, 1980
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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