A miscellany, then—and an unusually rich and satisfying one.
A theory of distinctively “modern” comedy is and isn’t consistently addressed in this provocative gathering of 21 recent (1999–2003) reviews by the stylish critic (The Broken Estate, 1999, etc.) and novelist (The Book Against God, 2003, etc.).
A closely reasoned introductory essay contrasts the corrective emphases of classical satire and invective with a “comedy of forgiveness” that acknowledges, indeed esteems human frailty and folly. Wood locates the roots of such comedy in displays of “random consciousness” in Shakespearean soliloquies, and in the wise tolerance of exemplars like Cervantes, Erasmus, and Austen. This idea is developed with impressive variety and nuance in analyses of the irrational mood swings of Dostoevsky’s posturing characters, Isaac Babel’s “rhythmic discontinuity,” and Saltykov-Schedrin’s horrifically funny anatomy of hypocrisy in his underrated masterpiece The Golovlyov Family. One wants to applaud Wood’s endorsements of such brilliant little-read writers as the Sicilian Chekhov Giovanni Verga, the Austro-Hungarian Empire’s mordant “elegist” Joseph Roth, and the enormously reader-friendly Czech comic novelist Bohumil Hrabal. Equally incisive looks at contemporaries include a stringent criticism of the Dickens-inspired “hysterical realism” that suffuses ambitious overstuffed fictions by Don DeLillo, Thomas Pynchon, and Salman Rushdie (though this generally negative essay does include an admirably evenhanded assessment of Zadie Smith’s much-admired White Teeth). But a review of J.M. Coetzee’s unsparingly judgmental (and splendid) novel Disgrace doesn’t seem to belong here—and one wonders why space was wasted reprinting understandably dismissive analyses of Tom Wolfe’s clunky A Man in Full and Rushdie’s tedious, meretricious Fury. Focus is recovered with considerations of the inspiration for V.S. Naipaul’s immortal Mr. Biswas (the author’s appealing father Seepersad), V.S. Pritchett’s “Russianized” English comedy, and Henry Green’s aslant, quietly anarchic character studies. And Wood’s admiring, admirably detailed tribute to “Saul Bellow’s Comic Style” is, as they say, worth the price of admission.
A miscellany, then—and an unusually rich and satisfying one.Pub Date: June 1, 2004
ISBN: 0-374-17737-6
Page Count: 304
Publisher: Farrar, Straus and Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 15, 2004
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
Sedaris at his darkest—and his best.
In which the veteran humorist enters middle age with fine snark but some trepidation as well.
Mortality is weighing on Sedaris (Theft by Finding: Diaries 1977-2002, 2017, etc.), much of it his own, professional narcissist that he is. Watching an elderly man have a bowel accident on a plane, he dreaded the day when he would be the target of teenagers’ jokes “as they raise their phones to take my picture from behind.” A skin tumor troubled him, but so did the doctor who told him he couldn’t keep it once it was removed. “But it’s my tumor,” he insisted. “I made it.” (Eventually, he found a semitrained doctor to remove and give him the lipoma, which he proceeded to feed to a turtle.) The deaths of others are much on the author’s mind as well: He contemplates the suicide of his sister Tiffany, his alcoholic mother’s death, and his cantankerous father’s erratic behavior. His contemplation of his mother’s drinking—and his family’s denial of it—makes for some of the most poignant writing in the book: The sound of her putting ice in a rocks glass increasingly sounded “like a trigger being cocked.” Despite the gloom, however, frivolity still abides in the Sedaris clan. His summer home on the Carolina coast, which he dubbed the Sea Section, overspills with irreverent bantering between him and his siblings as his long-suffering partner, Hugh, looks on. Sedaris hasn’t lost his capacity for bemused observations of the people he encounters. For example, cashiers who say “have a blessed day” make him feel “like you’ve been sprayed against your will with God cologne.” But bad news has sharpened the author’s humor, and this book is defined by a persistent, engaging bafflement over how seriously or unseriously to take life when it’s increasingly filled with Trump and funerals.
Sedaris at his darkest—and his best.Pub Date: May 29, 2018
ISBN: 978-0-316-39238-9
Page Count: 288
Publisher: Little, Brown
Review Posted Online: Feb. 19, 2018
Kirkus Reviews Issue: March 1, 2018
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