In this brisk account of the Third Crusade (1189—1192), Regan, author of numerous popular military histories, shines a soft, flattering light on the leaders of the two opposing forces in the greatest of all oxymorons: holy war. Early chapters focus first on the boyhood and rise to power of King Richard I (the Lionheart), then on the analogous biographical aspects of Saladin, the Muslim leader. (Though joined in history, the two principals never met.) Saladin’s capture of Jerusalem in 1187 precipitated the Third Crusade, details of which—preparations, alliances, journeys, strategies, battles—comprise most of the book. A patent admirer of military strategy, technology, and leadership (both Saladin and Richard occupy prominent spots in Regan’s pantheon), of the accomplishments of individual warriors, Regan can manage only a perfunctory condemnation of Richard’s murder of 3,000 Muslim captives after the siege of Acre; almost droll are his descriptions of Richard collecting enemy heads. Nonetheless, Regan’s considerable narrative gifts guide readers gracefully across unfamiliar and unforgiving terrain in company with exotic 12th-century people whose loyalties to one another are startlingly evanescent and whose harsh pieties permit wholesale human slaughter in the names of Jesus and Mohammed. Piquant anecdotes frequently enliven the prose (Frederick Barbarossa drowned in a foot of water on his way to the Holy Land; Richard nearly lost his life when he stole a peasant’s falcon), but general readers will need to scurry to their dictionaries—big ones!—to look up much of the archaic martial terminology (e.g., mangonel, fascine, haqueton, gambeson, and trebuchet). And some might wonder why Regan is so determined to demonstrate that Richard Lionheart was not a homosexual (he raises the issue in three separate places), or why he comments a couple of times on the quality of prostitutes in the Christian encampment. A paean to Richard and Saladin and desert warfare—the clashes of cultures resound as loudly as those of the weapons. (8 pages photos, not seen; 5 maps)
Pub Date: June 1, 1999
ISBN: 0-8027-1354-8
Page Count: 288
Publisher: Walker
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 15, 1999
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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