The Nobel Laureate continues his selective, semi-fictional memoirs—"contributions to an autobiography I never intend to write"—with a third, large-print volume illustrated by Raphael Soyer. It's now 1935, and, "since I didn't possess the courage to kill myself," Isaac must escape from Poland and join his older brother in N.Y. Which means leaving behind his assorted amours: Trotskyite Lena, now pregnant; epically depressed matron Stefa ("If a grave would open for me, I'd jump into it this minute"); and cousin Esther. But Isaac, that "timid adventurer," does manage to get his visa—"I envied the cobblestones in the street, which needed no passports, no visas, no novels, no reviews"—and trembles his way across Europe to the boat at Cherbourg. He's lost on the ship. He fears that his dining-hall card marked "second sitting" is a signal to the waiter "to poison my food." He ends up eating in his cabin, served stale bread and cheese by "a man who could be a prison guard". . .until meeting congenial virgin Zosia (who's headed for Boston). And once settled in Brooklyn, near writer brother Joshua, he's overwhelmed with melancholy: he can't write (though the Yiddish Forward has bought his unfinished novel); he knows no English ("I knew that I would remain a stranger here to my last day"); he has an obsessive affair with an older woman, a haunted widow ("She hadn't lost her husband, she assured me—his spirit had entered by body"). Worse yet, he'll be deported if he doesn't get a permanent visa. So he embarks on a nerve-wracking scheme requiring him to sneak into Canada—and his accomplice is Zosia, who clearly hopes to lose her virginity on the trip. (But this loveless act is unconsummated: "our genitals, which in the language of the vulgar are synonyms of stupidity and insensitivity, are actually the. . .enemies of lechery, the most ardent defenders of true love.") Isaac returns to his cockroach-infested room, Zosia marries a rich oddball, life goes on: "I am lost in America, lost forever." And despite the nonstop laments, this sharp, shapely memoir bounces along quite merrily—with the wicked, ironic grace of three or four overlapping Singer stories.
Pub Date: June 5, 1981
ISBN: 0385177178
Page Count: 259
Publisher: Doubleday
Review Posted Online: Oct. 4, 2011
Kirkus Reviews Issue: June 1, 1981
BOOK REVIEW
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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