These letters by novelist (The Fountainhead, not reviewed, etc.), political thinker, and all-around, self-described ``intellectual egotist'' Rand (190582) prove oddly revealing of their peculiar, indomitable author. Berliner, the executive director of the Ayn Rand Institute, has done an admirable job of assembling and editing Rand's letters (though her correspondents' replies are mostly absent); his commentary seems quite judicious, as well. These letters maintain a uniformly strident tone. Whether advancing her career through flattery and opportunism by writing to Cecil B. DeMille, Frank Lloyd Wright, and other notables, or advancing an ersatz philosophy—``Objectivism''—constructed out of anti-communist bromides and specious ratiocination, Rand crafts bracing prose. Most letters concern business in New York and Hollywood, the struggle against ``collectivism,'' and the maintenance of a growing group of fans. Rand often appears almost comically heartless. ``Altruism is the curse of the world,'' she aphorizes early on. Of aesthetic matters she seems insensible. Would-be writers receive banal exhortations to focus on plot and character, and reflections on her novels make them sound more one-dimensional than they are. A steady undercurrent of real pathos flows through this book, however: Rand describes the necessity to exercise self-censorship when writing letters (since lost) to her family, who were suffering tragically under dictatorship in her native Russia. If Rand developed her own authoritarianism, she did so in protective reaction to Stalinism. In her old age, she turns down an opportunity to write on the theme ``the childhood day I will always remember,'' because, she writes, ``what I regard as significant are certain trends and intellectual developments in my childhood, but not single days or events.'' Such chilling passages suggest that the terror which robbed her of her childhood and her family blighted her sensibility as well. Objectivists will find much reinforcement in this volume; more objective readers may find it truly depressing.
Pub Date: June 12, 1995
ISBN: 0-525-93946-6
Page Count: 720
Publisher: Dutton
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 1995
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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