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REDEMPTION SONG

Name: REDEMPTION SONG
Author: Chris Salewicz
ISBN: 0-571-21178-X

THE BALLAD OF JOE STRUMMER, THE DEFINITIVE BIOGRAPHY

by Chris Salewicz ‧ RELEASE DATE: May 1, 2007

Intelligent editing, less fact-churning and more analysis would have served this overlong tome well.

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A laborious consideration of the life of the Clash’s late front man.

Salewicz (Reggae Explosion, 2002, etc.) covered the career of singer-guitarist Joe Strummer for years, as a correspondent for the New Musical Express and other U.K. periodicals. The writer grew very close to his subject, but that intimacy does not enhance this sprawling, messy authorized biography. Like his band, Strummer embodied the contradictions of the late-’70s punk-rock movement: Born John Mellor in Ankara, Turkey, to a British foreign-service officer and educated privately, he recreated himself as a squatter in London and got involved in the city’s pub-rock and punk scenes. The Clash became punk’s poster boys; cast as righteous rockers while signed to a major label, they were often accused, in the words of one of the band’s own songs, of “turning rebellion into money.” Strummer gets somewhat lost in the shuffle during the book’s long central section, which recounts the Clash’s triumphant, contentious history, though he does emerge as a conflicted character capable of equal measures of love and ruthlessness. (He expelled lead guitarist Mick Jones from his own band.) The book stops dead during a section about the musician’s lost decade after the Clash’s breakup; Strummer’s film work, escalating drug and alcohol abuse and often aimless travel are enumerated in wearying detail. The tale comes back to life in the late chapters recalling Strummer’s musical renaissance with the Mescaleros before his death from a heart defect in 2002. Only a true Clash devotee is likely to make it that far. Salewicz tells his story with the vanity of a court biographer, and he displays a confounding love for endless, unpruned quotes and tour itineraries; some chapters bear obvious evidence of their genesis as music-weekly pieces. He is relatively uncritical of his buddy’s frequent meanness and chronic infidelity, and there is little insight into the sources of his long-term depression and alcoholism.

Intelligent editing, less fact-churning and more analysis would have served this overlong tome well.

Pub Date: May 1, 2007

ISBN: 0-571-21178-X

Page Count: 592

Publisher: Faber & Faber/Farrar, Straus and Giroux

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: March 15, 2007

Categories:

GENERAL NONFICTION

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NUTCRACKER

by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996

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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

Categories:

GENERAL NONFICTION

- BOOK REVIEW
THE NUTCRACKER AND THE MOUSE KING
by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson

- BOOK REVIEW
THE NUTCRACKER
by E.T.A. Hoffmann & illustrated by Julie Paschkis

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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

by Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955

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An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.