by Edmund White ‧ RELEASE DATE: Oct. 28, 1993
An exhaustive and perhaps definitive biography of the celebrated French writer and thief (1910-86), who looks almost human through the eyes of the much tamer White (The Beautiful Room is Empty, 1988, etc.). It's to Genet's credit that, once he became famous enough to establish a public persona, he quite frankly assumed the role of a criminal outcast. The son of an unknown father and an impoverished mother, Genet was raised in a dreary succession of orphanages and foster homes. As a child, he showed signs of great intelligence and creativity, but, as a ward of the state, he couldn't be educated for anything other than manual labor. Incorrigible and fiercely independent, he turned to theft at an early age and spent most of his adolescent years in reform schools and prisons. It was during this period that he became conscious of his homosexuality; throughout the rest of his life, he tried to insulate himself in masculine societies that re-created the brutal and isolated asylums of his youth. ``Boiling over with contradictions, Genet was cruel and sensitive,'' says White, ``a moralist who stole from friends, a petty thief who forged copies of his own quite genuine masterpieces.'' Genet's early writings—Our Lady of the Flowers and The Miracle of the Rose—brought him to the attention of Cocteau and the surrealists, but it was the patronage of Sartre that made Genet famous—and that brought him a pardon from the president of France. Ironically, Genet found it more difficult to write as a free man than as a prisoner, and, in his later years, he nearly stopped working altogether. He finally left France for Morocco (where he's buried) and took up the cause of the Palestinians. A thorough and painstaking job that, however, could have been accomplished in half the space. Scholars will find Genet essential; most others will find a lot to skim. (Useful notes; 16 pages of photographs—not seen)
Pub Date: Oct. 28, 1993
ISBN: 0-394-57171-1
Page Count: 848
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 1993
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by Elie Wiesel & translated by Marion Wiesel ‧ RELEASE DATE: Jan. 16, 2006
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
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by Elie Wiesel ; edited by Alan Rosen
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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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