Anyone who loves Hugo, France, and the French language will revel in this delightful book that explains all the intimacies...
A renowned French translator explores the life and legacy of Les Misérables.
The best translators must find just the right meaning, and Bellos (French and Comparative Literature/Princeton Univ.; Is that a Fish in Your Ear?: Translation and the Meaning of Everything, 2011, etc.) certainly understands that; he is also a crisp stylist capable of seizing the readers’ attention and holding it effortlessly. The story of Victor Hugo’s masterpiece is much more than an account of creativity. His work began as Les Misères, indicating the poor, but the story goes far beyond just those in financial poverty, encompassing the poor in spirit, the wicked, those in distress, and the mauvais pauvre, aka the “bad poor,” who were full of resentment and contempt. The novel is an indictment of three of the biggest problems of the 19th century: limited civil rights, the debasement of women, and a lack of education for children. The story itself and especially its characters grew and developed as names and dates changed, but the character of Marius always reflected Hugo’s life. Bellos opens our eyes to many fascinating elements of the book and its milieu: the depth and complexity of all aspects of French life; the differences between the rich and poor, even down to different terms for money; and Jean Valjean’s embodiment of “the potential that the poorest and most wretched have to become worthy citizens…[that] moral progress is possible for all, in every social sphere.” Particularly astute is the author’s observation that Les Misérables “is not a reassuring tale of the triumph of good over evil, but a demonstration of how hard it is to be good.” With the arrival of Louis Napoleon’s Second Empire, Hugo was banished, first to Brussels and eventually, in 1855, to Guernsey in the Channel Islands. It was there that he finished the 1,500-page masterpiece we know today.
Anyone who loves Hugo, France, and the French language will revel in this delightful book that explains all the intimacies of 19th-century French life.Pub Date: March 7, 2017
ISBN: 978-0-374-22323-6
Page Count: 320
Publisher: Farrar, Straus and Giroux
Review Posted Online: Dec. 7, 2016
Kirkus Reviews Issue: Dec. 15, 2016
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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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