There are two wrecks in this strikingly candid memoir, and one reads with the fascination and horror of drivers rubbernecking on a highway. The first wreck is the car crash that lands the author’s parents in the hospital, her mother with 80 broken bones, her father in a coma. The second wreck is Shapiro’s own life—a life that for much of the book makes it hard to sympathize with her. At the age of 23, in the mid- 1980s, she is a cocaine-snorting, liquor-swilling, aspiring-actress babe and the mistress of her former best friend’s stepfather. Having dropped out of college, this product of an Orthodox Jewish home is kept in style by a boorish hotshot lawyer. He buys her furs, jewels, and sports cars, and she numbs her scorn for both him and herself with drugs and alcohol. One feels equal parts pity and revulsion that such an intelligent, beautiful young woman can live such a vapid and amoral life. Shapiro’s saving grace is that she is equally repulsed in retrospect, making no excuses for her bad behavior. And, with her parent’s horrific accident as a wake-up call, as Shapiro gains respect for herself, the reader gains respect for her, as well. The portrait of her family, and of her mother in particular, is as unsparing as her self-portrait—no airbrushing hides the ugliness of the anger that drives her mother: ’she is incandescent, lit from within by a rage she has carried all her life, and which, at the moment of the crash, became her life source.— It will force Shapiro to become estranged from her father’s family at the time she needs them most. Novelist Shapiro (Picturing the Wreck, 1996, etc.) too often settles for clichÇs when she is capable of evocative and original prose, but her story accumulates emotional power as a lost young woman finds her way back to normalcy and a sense of purpose.
Pub Date: Aug. 1, 1998
ISBN: 0-679-45631-7
Page Count: 320
Publisher: Random House
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 1998
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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