by Herman Hall ‧ RELEASE DATE: Feb. 9, 2016
Childhood memories alternate with scenes of revolution and defeat in this complex work from a promising new voice.
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A bloody 18th-century rebellion lives long in the memory of a Caribbean estate in Hall’s debut memoir.
The author was born in 1945 and grew up on a spice estate in Grenada called Belvidere, where planting and harvesting had gone on since the 18th century. The stilt-supported barracks of the laborers almost perfectly resembled the cabins of their enslaved ancestors, and their children were barred from exploring the parasite-ridden outdoors or the kitchen buildings where food was prepared on stone slabs and “dried wood and oil-rich nutmeg branches, placed between the stones, served as cooking fuel.” At Belvidere, from a perch on his family’s front doorsill, Hall heard stories of the estate’s notorious former occupant, Julien Fédon, and the bloody rebellion he incited in the spring of 1795 that “seized and plundered British estates,” assumed control of the island (except for the seat of government), and eventually cost the lives of thousands of Grenadians. Inspired by the revolutions in Haiti, the United States, and France, Fédon, a seasoned French officer, masterfully played various sides of the struggle—French, British, Grenadian, and Hessian—against one another and nearly succeeded in changing the history of the Western Hemisphere. In this volume, Fédon’s story alternates with chapters in which Hall tells of his own childhood on the plantation in a sweet, nostalgic tone. He describes it, convincingly, as a melting pot, encompassing “poor whites” and people whose skin color he describes as “black as tar” as well as plenty of East Indians. Among the latter was the author’s adopted mother, an illiterate farm laborer who nearly burst with happiness when her son was admitted to exclusive schools. “Wherever people came from,” one wise old resident told him, “we were one people when we worked at Belvidere.” Hall brings the world of his youth to life with anecdotes that live up to the high billing of their chapter titles. Readers learn about the fascinating mix of religions at Belvidere as well as about the custom of swinging children over gravestones to protect them from curses; sightings of ghosts in the dismal woods; and the legend of the “loupgarou,” island vampires who were allegedly capable of manifesting themselves as giant balls of fire. As a result, Hall’s book will absorb readers for hours.
Childhood memories alternate with scenes of revolution and defeat in this complex work from a promising new voice.Pub Date: Feb. 9, 2016
ISBN: 978-0-9970190-0-1
Page Count: 264
Publisher: CreateSpace
Review Posted Online: Dec. 1, 2016
Kirkus Reviews Issue: Jan. 15, 2017
Review Program: Kirkus Indie
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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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by William Strunk & E.B. White ‧ RELEASE DATE: May 15, 1972
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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