Stylish, insightful narratives of exemplary love affairs- -liaisons conducted in French, during the Romantic period and the Belle Epoque, when intellectual talk and passionate correspondence lent formal brilliance to the work of love. The luxurious prose that New Yorker contributor Hofstadter (Goldberg's Angel, 1994, etc.) crafts here provides the perfect medium for transmitting the extravagant stylings of his subjects, French literati active during the years 17961834 and 18871915. Presenting evidence drawn from their public and, moreover, their private writings, Hofstadter shows how their romantic effusions shaped their lives to aesthetic ends. His story begins with the sentimental novelist Madame de Charriäre, who fairly late in her life established a deep yet apparently platonic relationship with the youthful Benjamin Constant. Constant left her for the celebrated author Madame de Staâl. Later, after emerging from de Staâl's influence, he would write an extraordinarily misogynist novel, Adolphe—based, ironically enough, on his mentor Madame de Charriäre's Caliste. Madame de Staâl's protegÇes also included Juliette RÇcamier, who fell for the Vicomte Chateaubriand, whose Memories from Beyond the Tomb Hofstadter presents as a brilliant achievement of memory and of lying. Hofstadter moves on to develop a second, similar picture of literary romance. This time the work of Marcel Proust, who modeled many of his characters on his contemporaries, provides the focus. Key actors include the novelist Anatole France; his lover, the salonniäre LÇontine de Caillavet; and her son, Gaston, who competed with Proust himself for the affections of Jeanne Pouquet. Like Chateaubriand, Proust inevitably brings the topic around to memory and its vicissitudes. Hofstadter, for his part, hesitates to draw any resolutions from them for our time. He stresses instead the gulf that lies between these worlds of letters and our own society. Hofstader's recreation of French romanticisms exemplifies the art of collective biography. But without larger conclusions, his tale, however artfully crafted, remains a mere melodrama of literary life.
Pub Date: Feb. 1, 1996
ISBN: 0-374-19231-6
Page Count: 304
Publisher: Farrar, Straus and Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 15, 1995
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
BOOK REVIEW
BOOK REVIEW
BOOK TO SCREEN
BOOK TO SCREEN
BOOK TO SCREEN
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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