The brief, years-later section tacked on at the end is insubstantial, following, as it does, the scorched earth of what came...
A childhood you wouldn’t wish on your worst enemy: a series of mistakes, tribulations, and brutality, tempered by the sanctuary of an uncle’s farm in the Catskills.
Related in the third person, which affords a modest buffer to the story’s grim terrain, novelist Peck (Now It’s Time to Say Goodbye, 1998, etc.) tells of his alcoholic father stealing into his room, which he shared with seven brothers and sisters, in the middle of the night, toothless and giddy on cough syrup, whining (“I owe my troubles to a savage wife”) and slurring that he wants Dale out of the squalor and the thrashings he receives from his mother, administered with a length of hose complete with the metal head. The dairy farm of Uncle Wallace and Aunt Bessie is no walk in the park, a shambles of an operation—“Dinner, sleep, morning reveille and sixty swollen udders eager to be drained, world without end, amen”—that Peck helps to drive almost insolvent. There are a few shining set pieces here: when Peck embraces a sense of place (“the land, history, time itself, absorbs all the things people forgo and forget”); and again, when a cow nears death as a result of his bungling, when he curls up next to the cow’s belly, warm as a campfire in the winter night, pining for “the body-stuffed bed of his parents’ house,” despite its unspeakable occupants. His ultimate choice of immediate family over the aunt and uncle is mind-boggling, especially after another depiction of his father, crawling around the floor of the family house, thoroughly inebriated, being humiliated by wife and police officers: “Mercy, sir,” the father pleads, and then fouls himself.
The brief, years-later section tacked on at the end is insubstantial, following, as it does, the scorched earth of what came before.Pub Date: Nov. 3, 2003
ISBN: 0-618-25128-6
Page Count: 240
Publisher: Houghton Mifflin
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 15, 2003
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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