A deft, spirited exploration of the connection of language to a nation’s identity and culture.
Multilingual Dutch journalist and linguist Dorren (Lingo: Around Europe in Sixty Languages, 2015, etc.) proves to be a genial, fascinating guide to the modes, manners, and curiosities of the most-spoken languages in the world.
Among an estimated 6,000 languages in existence, 20 are spoken by half the world’s population. From Vietnamese (85 million speakers) to English (1.5 billion speakers), the author investigates cultural, historical, and political influences that shaped the language, beginning with a succinct overview of the language’s significant traits: writing system, family (Austronesian, Indo-European, etc.), grammar, and sounds. He also offers a sampling of words borrowed from other languages and those exported to English: lilac, from Turkish; safari, from Swahili; and eight pages of the plethora of English words derived from Arabic. Among the 20 selections are several that reveal deep-seated social divides. Japanese (130 million speakers), which has no grammatical gender, requires women to speak in a distinctive “genderlect”: using slightly longer versions of words to make them sound polite and using different pronouns from men. Those differences, dating as far back as 794, have been abating over the past 25 years, Dorren writes, with women in films, theater, and on TV using speech that has “a much more masculine character than before.” Javanese (95 million speakers) has “an exceptionally extensive formality system” in which every word has a synonym that reflects and reinforces Java’s social hierarchy. That language is becoming endangered, with Malay (275 million speakers) having become the official language after Indonesia’s independence in the late 1940s, uniting a population spread across nearly 1,000 islands, speaking over 700 different languages. Punjabi (125 million speakers), like Vietnamese, Hmong, Swedish, and Mandarin, is a tonal language, in which the meaning of the same word changes depending on the tone in which it is spoken. In conveying unfamiliar sounds, Dorren uses English spelling conventions but helpfully directs readers to his website, languagewriter.com, where sound files are available.
A deft, spirited exploration of the connection of language to a nation’s identity and culture.Pub Date: Dec. 4, 2018
ISBN: 978-0-8021-2879-9
Page Count: 320
Publisher: Atlantic Monthly
Review Posted Online: Sept. 10, 2018
Kirkus Reviews Issue: Oct. 1, 2018
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
This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)
Pub Date: Oct. 28, 1996
ISBN: 0-15-100227-4
Page Count: 136
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1996
BOOK REVIEW
BOOK REVIEW
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