Like Wineapple's Genàt: A Biography of Janet Flanner (1989), an impressively researched portrait of American expatriates—in this case, the writer Gertrude Stein (18741946) and her brother Leo (18721947), a pioneering modern art collector. The author begins with the Steins' roots in Baltimore's affluent, cultivated German-Jewish immigrant community. Orphaned before either was 20, the siblings had financial independence, which freed them to concentrate on their intellectual life. Gertrude specialized in psychology at Harvard and nearly attained a medical degree from Johns Hopkins before abandoning it with a shrug. Leo's studies at the same two institutions were less focused, but he was known as an expert on art and opera. In 1902 he led the way to Paris and the famous apartment at 27, rue de Fleurus, which became a showcase for extraordinary paintings and a gathering place for the avant garde. His sister joined him in 1903, and they began collecting works by CÇzanne, Picasso, and Matisse, while Gertrude groped in early writings like Three Lives toward the elliptical prose style that would provide a literary equivalent to the artists she loved. Wineapple makes good use of formidable amounts of material—the Steins apparently committed to paper every mental hiccup—to give vivid impressions of her subjects' characters: Gertrude earthy, gregarious, and domineering; Leo more neurotic, indecisive, and introspective. The author also captures the gossipy, close-knit world they moved in. She does not quite succeed, however, in elucidating the dynamics of the pair's exceptional closeness, nor does her account of their estrangement in 1914 offer much beyond the facts: Alice B. Toklas and the woman who would become Leo's wife drew them apart; the final blow was Leo's failure to appreciate Gertrude's increasingly experimental prose. They died 12 months and two days apart, still not speaking. Thorough and intelligent, but lacking that final spark of empathy that distinguishes a truly exceptional biography. (b&w photos)
Pub Date: April 16, 1996
ISBN: 0-399-14103-0
Page Count: 512
Publisher: Putnam
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 15, 1996
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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