A moving and intimate epistolary record of the complex relationship between the great Russian playwright and the actress who eventually became his wife. Chekhov (18601904) already had an advanced case of tuberculosis when he met Knipper (18681959) in the fall of 1898. She was rehearsing the role of Arkadina in his revised version of The Seagull for the newly formed Moscow Art Theatre; the production's success—and her personal triumph in it—meant that she spent the theater season in Moscow while he, under doctor's orders, spent the long Russian winter in the warmer climate of Yalta. These separations, which continued after their marriage in 1901, made letters their primary form of communication for months at a time. The couple's very different personalities stand in sharp relief: Knipper's lively epistles, which feature evocative descriptions of the Russian landscape and some astute analysis of her lover's personality, reveal an affectionate, frank, impulsive woman who wrote what she thought and frequently expressed frustration with Chekhov's elusiveness. The playwright's missives are witty, charming, and infuriatingly oblique about his feelings, although his post-wedding correspondence is noticeably warmer. Benedetti (Stanislavski, 1988) has edited the letters to focus on the pair's personal relationship; frequent ellipses suggest that a good deal of information about Moscow Art Theatre rehearsals and internal politics has been omitted, possibly to avoid overlap with The Moscow Art Theatre Letters, which he also edited. Interesting though the couple's emotional ups and downs are, more material on their shared professional life—he wrote Masha in Three Sisters and Ranevskaya in The Cherry Orchard for her—would have made this even better. Nonetheless, this correspondence gives us wonderfully vivid self-portraits of two important Russian artists and a poignant chronicle of love struggling against the handicap of distance and the ravages of terminal illness.
Pub Date: Oct. 30, 1997
ISBN: 0-88001-550-0
Page Count: 320
Publisher: Ecco/HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 1997
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
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