An honorably dispassionate and logical broadside against a shameful practice.
The death penalty is wrong because it can’t be meted out fairly, argues Dow (Law/Univ. of Houston).
The standard argument against executions is that they are cruel, inhumane and somehow uncivilized: a rhetorical strategy that often runs aground on the hard retort that killers can’t be punished enough and to feel sympathy for them is naïve at best. Some death penalty abolitionists, like Sister Helen Prejean, will explain why certain death row inmates are actually innocent, but even though the author is director of the Texas Innocence Network, he thinks that’s also the wrong angle to take. Dow systematically walks readers through the process by which states decide to execute criminals, a process that ultimately owes far more to a convict’s race, class and caliber of attorney than to the crime’s level of brutality, which is supposed to be the factor that determines whether a death penalty or life sentence is imposed. “The tiny handful that we execute is almost never the worst of the worst,” writes Dow. “Instead, people are executed because eyewitnesses make mistakes, police lie, defense lawyers sleep, and judges do not care.” He returns repeatedly to the subject of defense lawyers who slept through the trials of clients who later went to death row; in one unbelievable instance in Texas, six people who had been represented by one dozing lawyer were executed. It isn’t just a bad defense that makes the system so unfair to the accused, the author asserts; it’s also the simple fact that minorities are executed far more often than their white counterparts (regardless of the severity of the crime) and that higher courts are increasingly unwilling to hear appeals from those on death row. Though the central power of Dow’s argument occasionally gets lost in a book that frequently reads like a dry legal brief, he succeeds in illuminating the horrific arbitrariness of a system that has abandoned blind justice for “the rule of the mob.”
An honorably dispassionate and logical broadside against a shameful practice.Pub Date: May 15, 2005
ISBN: 0-8070-4420-2
Page Count: 256
Publisher: Beacon Press
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 15, 2005
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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