A strong gathering of literary essays from a leading American critic and public intellectual. In her fourth collection of essays (after Bartleby in Manhattan, 1983, etc.)—all of which have been previously published in the New York Review of Books and other such venues—Hardwick trains her gaze on American writers and books. Among the categories of inclusion are “Old New York” (Edith Wharton and Henry James); “Americans Abroad” (Gertrude Stein, Margaret Fuller, Djuna Barnes); and “Fictions of America” (Richard Ford, Philip Roth, John Cheever, John Updike, and Joan Didion); and Hardwick rounds out her collection with an uncategorizable critique of televangelists from the South. Her particular strength, though, lies in the literary. She has known personally many of these writers, both living and dead. This may explain why one senses special pleading in a few cases. Her essays on John Updike, John Cheever, Philip Roth, and Richard Ford are deeply perceptive and beautifully written, but when it comes to Joan Didion, Hardwick seems to be making the best of a bad situation. Her insights are in this instance less compelling, perhaps because she can’t quite persuade herself or her reader that Didion’s novels hold up under the severest scrutiny. Hardwick’s particular strength is her casual-sounding yet deadly accurate language. In her essay on Elizabeth Bishop she writes: “Nothing is more striking to me than the casual prose of poets, with its quick and dashing informality, its mastery of the sudden and offhand, the free and thrown away.” This gracefully iambic passage describes (and embodies) one of the many virtues of her own prose, and it explains why reading her is such a pleasure. And, finally, anyone who doesn—t yet know what a weird national phenomenon Vachel Lindsay was should read that essay first. Taken together, these essays constitute a vivid reflection of American literary culture in the imagination of one of our most urbane critics.
Pub Date: July 1, 1998
ISBN: 0-375-50127-4
Page Count: 352
Publisher: Random House
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 1, 1998
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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