Brutally honest, sometimes funny vignettes about affirming faith and community in the midst of drug-induced angst. Novelist Lamott’s third autobiographical book (Operating Instructions, 1993; Bird by Bird, 1994) follows her usual pattern of cutting wit and wretched frankness. This memoir, though, is more spiritual than religious: Like many in her boomer generation, Lamott doesn’t hold much truck with churches but has found a meaningful congregation all the same. It is a small, interracial community which lovingly incorporates pariah elements. Lamott circuitously chronicles finding the church (for months, she stayed only for the music, leaving before the sermon) just as she approached a crossroads in her life, finally admitting her alcoholism and other addictions, and starting out on the long road to sobriety (these chapters are among the book’s most chilling, along with her struggles to overcome body-loathing and bulimia). When she was on the verge of becoming a single mom in the late 1980s, the church truly came through for her, with members slipping ten- and twenty-dollar bills into her pockets after Sunday services. Lamott remains an active participant, demanding that her son, Sam, attend church with her most weeks. “I make him because I can,” she explains. “I outweigh him by nearly seventy-five pounds.” Lamott also takes refuge in a wide assortment of friends, many of whom have to deal with life-threatening illnesses as the narrative moves along. In the face of these tragedies, Lamott is refreshingly silent about questions of theodicy, choosing instead just to be there for people in need. Friendship, she claims, is the best salve for anyone’s pain, anyhow. She should know; she’s obviously been through a lot of it. Still, nothing here is self-indulgent. An anguishing account that also heals.
Pub Date: Feb. 1, 1999
ISBN: 0-679-44240-5
Page Count: 288
Publisher: Pantheon
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 15, 1998
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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