Another memoir by a British subject extolling the virtues of Italy and the Italians. But Phelps is in many ways outside the mold. To begin with, she is a woman and a former social worker. Just as importantly, she settled in Sicily, not Tuscany. Sicily is a world away from Tuscany; the Baroque and Arab influence are more in evidence here than Renaissance classicism. At 36, Phelps inherited Casa Cuseni, generally acknowledged to be one of the finest houses in Taormina, in the northeast corner of Sicily. Without meaning to, she fell in love with the house and the locals, a colorful cast of characters, including Concetta Genio, housekeeper and friend. By transforming the Casa Cuseni into a modest pensione, she managed to keep it for the past half-century and attract an eccentric group of English, American, and foreign visitors. These included Bertrand Russell, Roald Dahl, and Tennessee Williams. In the process, she collected a menagerie of animals and innumerable friends, and was named godmother to a troupe of Sicilian puppets. Adding a charming aspect to the work is the clash of cultures: English and Sicilian, Protestant and Catholic, Mediterranean male and northern European female (the sight of Phelps behind the steering wheel of an automobile is cause for an entire town to turn out to witness the never-before-seen spectacle.) Phelps has a deep-seated empathy for the poverty of the Sicilians, but an anticommunist bias that fails to understand the social cause of that orientation. In the end, the cast of characters is more interesting than the author herself; not because of the self-effacing nature of the writing, but because of the colorful and charismatic culture that Phelps finds herself immersed in. The house itself has been officially declared a site of “cultural and historic importance,” no mean feat in Italy. A charming memoir that only begins to uncover the myriad facets of life and culture in Sicily. (8 pages color photos, not seen)
Pub Date: Sept. 1, 1999
ISBN: 0-7867-0656-2
Page Count: 275
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 1999
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
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
BOOK REVIEW
BOOK REVIEW
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