The epic biography that Carver deserves.
A rich portrait of a master of the American short story.
The life of Raymond Carver (1938–1988) hews closely to a heroic arc: a hardscrabble childhood, a noble struggle for success, a fall from grace and ultimate redemption. But Sklenicka wisely avoids hagiography, sticking to the facts while astutely connecting real-life details to Carver’s stories and poems. Born in Oregon, Carver began his writing career in earnest in the early 1960s at Chico State University under the tutelage of novelist John Gardner, earning publications in small literary magazines. He traveled often during his early years with his first wife, Maryann, and two children, as he scrounged for whatever academic appointments might enable him to write his ironic, pointed stories about working-class lives. By the early ’70s those stories caught the attention of Esquire fiction editor Gordon Lish, but Carver’s finances were in a shambles—he would declare bankruptcy twice in his lifetime—and his alcoholism had deepened. Sklenicka captures many heartbreaking moments from that period—never more harrowing than when he smashed a wine bottle against Maryann’s head, nearly killing her. Carver stopped drinking in 1977, and in his final years he wrote many of the stories that his towering reputation is now built on. The “Good Ray” that replaced the “Bad Ray” of the alcoholic years was a gentle man who too often acceded to the demands of people like Lish, who invented much of Carver’s “minimalist” reputation by aggressively editing and rewriting his stories. In his final years, though, he earned enough clout and confidence to be nobody’s pushover. Sklenicka spoke with nearly everyone in Carver’s orbit, making the book a kind of history of American fiction in the ’70s and ’80s, capturing the crucial writers (Richard Ford, Tobias Wolff, John Cheever) and sea changes in the publishing industry that made Carver such a powerful influence on writers today.
The epic biography that Carver deserves.Pub Date: Nov. 24, 2009
ISBN: 978-0-7432-6245-3
Page Count: 592
Publisher: Scribner
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 15, 2009
BOOK REVIEW
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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