A soberly investigated picaresque life of the barfly author of Notes of a Dirty Old Man. For those critics who felt that Bukowski buddy Neeli Cherkovski’s colorful but less than rigorous Hank: The Life of Charles Bukowski (1991) lacked objective distance, London journalist Sounes has enough to offset his hero-worship of the womanizing, dipsomaniacal, down-and-out poet-novelist. Bukowski is probably best known from his self-portrait of an alcoholic in the movie Barfly, but his almost lifelong problems with alcohol, money, women, an abusive father, and a menial job at the post office never slowed a prolific output of poems, short stories, and novels. With such a disreputably mythic author, whose works are both transparently autobiographical and scabrously candid, this book’s task is not to dig up dirt on the subject, but to find out which dirt is the real dirt. Sounes, whose previous book, the true crime Fred & Rose (not reviewed), detailed a respectable married couple’s mass killings, steadies stories of Bukowski’s outrageous antics (getting beer cans thrown at him during a boozy poetry reading, for instance) with the dogged journalistic work of tracing paper trails, from public records to Bukowski’s correspondence and unpublished writing, and interviewing his surviving family, friends, colleagues, and ex-girlfriends. Some (self-perpetuated) myths are brought down quickly, such as Bukowski’s illegtimacy. Other revelations give more substance to the Bukowski legend, such as how careful he was in fact with his money even when playing the horses, how dedicated he was to his writing even when he couldn’t hold down a steady job during the “barfly” years, and how close he really was to being fired when he finally quit the post office to write full-time. Despite its often fannish tone, a biography that listens to Bukowski’s all-night barroom anecdotes and then checks the facts the morning after. (b&w photos and illustrations, not seen)
Pub Date: May 1, 1999
ISBN: 0-8021-1645-0
Page Count: 320
Publisher: Grove
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 1999
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
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