by David Kaiser ‧ RELEASE DATE: March 1, 2019
An astute meditation on a successful academic life coupled with a searching discussion of the history field’s decline.
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A historian recounts an accomplished university career that spans more than three decades and reflects on the deterioration of the discipline.
Born in 1947, Kaiser (Baseball Greatness, 2018, etc.) seemed destined to become a historian. At the precocious age of 10, he wrote a history—albeit brief—of the United States. A naturally gifted student, he sought “refuge” in his studies from an “emotionally chaotic” family environment. His father was a diplomat, and, as a result, the author traveled peripatetically with his family, spending swaths of his childhood in Washington, D.C.; New York; London; and Senegal, hungrily absorbing the culture of each environment and always hunting for new knowledge in books. Unsurprisingly, he embarked on a noteworthy academic career as a historian that started at Harvard University, where he earned his doctorate, and included appointments at multiple institutions, including Carnegie Mellon and the Naval War College, where he found it “surprisingly easy to fit in” and felt most at home. Kaiser chronicles in astoundingly granular detail his remarkable ambition to “establish myself in the first rank of my profession.” He did precisely that, writing important books that covered such diverse topics as the Vietnam War—which he calls the “the key event of my own life as of the early 1990s”—and American baseball. At the heart of the remembrance is a profound lament on the descent of the scholarly practice of history in particular and the quality of university education in general: “No one, in any university or any liberal arts college that I know of, was focused on providing high-quality teaching. While some high-quality teachers remained, they had gotten where they were by accident and could not replicate themselves.” Kaiser’s career is an undeniably impressive one, and his contributions to the profession are genuinely important. Such a candid peek into the life and work of a preeminent historian should prove captivating to readers interested in the field, whether or not they’re familiar with the author’s work. Unfortunately, his painstakingly microscopic recounting of his professional life— including not only his intellectual evolution, but also departmental squabbles and rivalries—will likely grow tedious. In addition, the memoir is interspersed with brief recollections by past students—all adoring—a gratuitous addition to the book. Nevertheless, Kaiser furnishes an exceedingly thoughtful exploration of his craft, including the significance of reviewing primary sources and the need for scholars to expand their research into the history that precedes their points of investigative focus. Moreover, the author’s critique of contemporary historical scholarship and its connection to today’s political turmoil is intellectually gripping: “The collapse of the historical profession which I witnessed firsthand is, I am convinced, quite connected to the broader decline of public life in the United States, and the threatened collapse of American society.” This is a notably wise book, with its insights drawn from a deep wellspring of personal and professional experience.
An astute meditation on a successful academic life coupled with a searching discussion of the history field’s decline.Pub Date: March 1, 2019
ISBN: 978-1-73287-450-3
Page Count: 408
Publisher: Mount Greylock Books LLC
Review Posted Online: Nov. 6, 2019
Review Program: Kirkus Indie
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by Elijah Wald ‧ RELEASE DATE: July 25, 2015
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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by William Strunk & E.B. White ‧ RELEASE DATE: May 15, 1972
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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