A generous display of the great English journalist’s distinctive honesty, clarity and reverence for the pertinent fact and...
The first of two volumes of the British author’s essays, compiled by journalist George Packer.
Orwell (1903–50) was no Flaubert closeted in aesthetic concentration. He was a vigorous participant in the chaotic life of his time, traveling to dangerous places (Burma under British rule, Spain fragmented by civil strife) and venturing into the culture of poverty—in his documentary masterpiece Down and Out in Paris and London and in such memorable transcriptions of personal experience as reports on his day spent in a filthy workhouse (“The Spike”) and a similar adventure in a festering prison (“Clink”). Readers familiar with Orwell’s work will not be surprised to find the aforementioned, or a kindred depiction of “Marrakech” as a swamp of poverty, overpopulation and disease, or a thoughtful if embittered retrospective essay, “Looking Back on the Spanish Civil War,” which forms a bridge to his great nonfiction book Homage to Catalonia. Some may be surprised, however, to encounter a memoirist who displays a quirky affection for the minutiae of the quotidian (“The Case for the Open Fire,” “In Defence of English Cooking,” “Bookshop Memories”) and a keen observer who always zeroes in on the broader ramifications of a simple subject (e.g., describing English football in “The Sporting Spirit” as “an unfailing cause of ill will”). The journalistic virtue Orwell does not possess in abundance is, oddly enough, objectivity. Readers will feel his inquiring, combative, judgmental sensibility lurking everywhere in his best work: bitter self-criticism in the twin classics “A Hanging” and “Shooting an Elephant”; stoical courage and depressive exhaustion in his immensely detailed “War-time Diary” (1940); his need “to make political writing into an art” in “Why I Write”; and the salutary indignation that enlivens his justly famous remembrance of public-school experiences (“Such, Such Were the Joys”).
A generous display of the great English journalist’s distinctive honesty, clarity and reverence for the pertinent fact and the perfect phrase.Pub Date: Oct. 1, 2008
ISBN: 978-0-15-101361-6
Page Count: 336
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 2008
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
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BOOK TO SCREEN
BOOK TO SCREEN
BOOK TO SCREEN
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...
Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").Pub Date: May 15, 1972
ISBN: 0205632645
Page Count: 105
Publisher: Macmillan
Review Posted Online: Oct. 28, 2011
Kirkus Reviews Issue: May 1, 1972
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