An articulate and conscientious critique of free trade that should be read by anyone with serious interest in the subject.
An economist and adjunct fellow at the U.S. Business and Industry Council argues that continuing a program of unregulated free trade is bad for America and proposes a solution that will benefit the U.S. economy in the long term.
Employing a typical economist’s rationality in this methodical and nonpartisan book, Fletcher takes to task the commonly held assumption that free trade is an inherently and inarguably good system for America, as well as the notion that challenges to this assumption are reactionary and mercantilist. Citing massive trade deficits—the fact that America imports much more than it exports—he argues that American primacy is waning as the dollar becomes less valuable. Fletcher undertakes a systematic approach to debunking free trade, beginning with clear-eyed explanations of free trade as it currently stands and the negative consequences it increasingly has on America. He devotes much of the book to his opposition’s arguments, deconstructing them so as to give free-trade detractors cogent rebuttals on the subject (a particularly favored whipping boy is the idea of comparative advantage). However, he saves the real intellectual wrath for the economists who either actively or tacitly support free trade. While politicians and powerful corporations do hold some sway, it will always be theories that dictate trade policy. Fletcher is of the opinion that any theory that supports free trade is the result of unrealistic assumptions about how trade works in today’s world as well as antiquated ideas about perfectly sound economies. His reasoned answer as to how trade should operate in America comprises the book’s third section. In short, he favors what is called a natural strategic tariff, one that is simple in implementation (he offers a 30 percent rate) but complex in effect, as different industries would be inherently more sensitive to a tariff. Such a system would promote some manufacturing to move back to America (indeed, the industries that would be affected are the very ones Americans want back on their shores) while leaving untouched other goods that the country would still happily import.
An articulate and conscientious critique of free trade that should be read by anyone with serious interest in the subject.Pub Date: Jan. 22, 2010
ISBN: 978-0578053325
Page Count: 346
Publisher: N/A
Review Posted Online: July 30, 2010
Review Program: Kirkus Indie
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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