A roller-coaster ride of a memoir, as dramatic as it is touching.
A writer recalls her wildly peripatetic youth in the mid-20th century, traveling around the South with a father who is by turns a criminal and an entrepreneur.
Debut author Rafter had an uncommonly dramatic life. Her father, Urbie Meeks, was at one time a notorious moonshiner hunted by federal authorities and took Rafter and her 11 siblings with him “on the lam.” Urbie cheerfully referred to these escapades as “adventures,” though he was finally apprehended and sent to jail in Atlanta. He got his start illicitly selling homemade alcohol after the Depression decimated economic opportunities in the Glades of South Florida, a place so “notorious as a mobster hideout” that it became known as the “Chicago of the South.” As he once said of his product, “There’s one thing that people will buy in good times and bad—in good times to celebrate and in bad times to kill their pain.” When he finally gave up on the moonshine business, he became a chronically restless and sometimes-quixotic entrepreneur—he tried to invent a perpetual motion device, the “magic machine.” But his obsession with drinking and gambling doomed his ventures to failure. Rafter’s mother, Leila, heroically kept the family members together even as they traveled in search of work: picking cotton in Alabama, cherries in Michigan, and tomatoes in Indiana. Leila also did her best to protect the children from Urbie’s recurring violence, which they considered, from this otherwise loving man, “confusing and frightening.” The account, told in poetically unembellished but powerfully unflinching prose, is cinematically dramatic. After Leila tragically died, taking an unborn child with her, and Urbie was forced into convalescence in a nursing home, the kids were placed in an orphanage, with some later sent to foster care, a terrifying experience poignantly conveyed. The author artfully avoids any sententious moralizing or treacly sentiments—her earnest style of storytelling is affecting. Her youth was truly remarkable, and her stirringly composed book does that stage of her life justice.
A roller-coaster ride of a memoir, as dramatic as it is touching.Pub Date: July 10, 2019
ISBN: 978-1-64628-128-2
Page Count: 212
Publisher: Page Publishing, Inc.
Review Posted Online: Dec. 5, 2019
Kirkus Reviews Issue: Feb. 15, 2020
Review Program: Kirkus Indie
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
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BOOK TO SCREEN
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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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