Best known as the creator of the enduringly popular sleuth Lord Peter Wimsey, Sayers gives us glimpses of her life in this selection of vivid and often entertaining correspondence. This collection, which comprises only a fraction of the letters Sayers left, follows the author from her youth—she is only five when she writes the first, remarkably articulate, letter here—through the period of her fame as a mystery writer who is just beginning the religious works of her later years. Throughout, Sayers presents herself as an intriguing combination of reticence ("I never can write about my feelings") and brashness ("I really am a vulgar child"). Intelligent and a keen observer of her surroundings, she demonstrates the ability to sketch character and setting long before she pens her first novel. She does not hesitate to turn her lively sense of humor on herself, as when she notes that her unsuccessful verse translation of the Song of Roland sounds well enough "chanted aloud in the bath-room." Sayers taps all of these abilities to turn out controlled and for the most part upbeat letters, even when she is riding out her infatuation with writer John Cournos, struggling to establish her financial independence, making living arrangements for the illegitimate son she bore and "adopted" but never acknowledged, and coping with a husband who is given to "odd fits of temper." Fans of Sayers's mystery writing will particularly relish some of the later entries that show the author at work: for example, those to Dr. Eusatce Barton sorting out the details of their collaborative novel, The Documents in the Case, and those touching on the work it takes to get the play Busman's Honeymoon to the stage. Absorbing reading on its own, and a worthy companion to Reynolds's biographical Dorothy L. Sayers: Her Life and Soul (1993.)
Pub Date: April 1, 1996
ISBN: 0-312-14001-0
Page Count: 448
Publisher: St. Martin's
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 15, 1996
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the...
Elie Wiesel spent his early years in a small Transylvanian town as one of four children.
He was the only one of the family to survive what Francois Maurois, in his introduction, calls the "human holocaust" of the persecution of the Jews, which began with the restrictions, the singularization of the yellow star, the enclosure within the ghetto, and went on to the mass deportations to the ovens of Auschwitz and Buchenwald. There are unforgettable and horrifying scenes here in this spare and sombre memoir of this experience of the hanging of a child, of his first farewell with his father who leaves him an inheritance of a knife and a spoon, and of his last goodbye at Buchenwald his father's corpse is already cold let alone the long months of survival under unconscionable conditions.
Pub Date: Jan. 16, 2006
ISBN: 0374500010
Page Count: 120
Publisher: Hill & Wang
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: Jan. 15, 2006
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
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