Inevitably, there are a few clunkers, but this is a strong gathering in both its parts and its sum.
Spirited, appropriately oversized anthology of Texas-centric creative work by women from the Lone Star State.
Gathering poems, nonfiction, stories, and images, this collection explores the premise, as lead editor Walker-Nixon (Canaan's Oothoon, 2010) writes, that “women form a large part of the backbone of Texas storytelling and art, despite the fact that the existence of female mythmakers has all too often been overlooked.” That seems almost self-evident: the genres associated with Texas have been dominated by male writers, a point the thoughtful introductory essay by the late folklorist Lou Rodenberger details while arguing for greater inclusiveness. The present anthology proposes any number of women to join their ranks, with a particularly strong showing in fiction; too many of the poems are just limping prose with line breaks—though that is true everywhere. Not all the work is set directly in Texas. Some poems and stories wander to New York City, others deep into Mexico, but in the main, they partake of the state’s storied sense of independence and assertiveness. The editors strive for, and attain, a good balance of old and new and of ethnicities and ages. Though there are a couple of gaps and missing names (LaVerne Harrell Clark, Becky Patterson), some of the state’s better-known writers make appearances—e.g., Naomi Shihab Nye, Carmen Tafolla, and Sandra Cisneros. As Willie Nelson can attest—and as Kathleen Hudson’s thoughtful introductory essay to a gallery of lyrics shows—women are particularly well-represented in the ranks of Texas songwriters; the anthology includes selections from the always excellent Tish Hinojosa, as well as Amanda Pearcy, Emy Taylor, and others. Their commentary on their lyrics is a lagniappe, a bayou country term of art that the editors employ in a closing section comprising their own work.
Inevitably, there are a few clunkers, but this is a strong gathering in both its parts and its sum.Pub Date: March 1, 2015
ISBN: 978-1-60940-423-9
Page Count: 448
Publisher: Wings Press
Review Posted Online: Feb. 15, 2015
Kirkus Reviews Issue: March 1, 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
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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