by James Y. Hung ‧ RELEASE DATE: April 4, 2018
An engrossing introduction to the riches of Chinese that should delight casual language mavens and more experienced speakers...
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The world’s most widely spoken language—and one of the most daunting to learn—has its idiosyncrasies dissected in this primer.
Hung (Practical Ophthalmology, 2016, etc.), a retinal surgeon, amateur linguist, and author, is fluent in English, Mandarin Chinese, and his native Cantonese dialect and thus well-qualified to interpret the foibles of Chinese for English speakers. Chief among these is a fiendishly difficult writing system that uses characters symbolizing ideas rather than the simple alphabets other languages use to phonetically spell out the sounds of words. Hung shows how Chinese characters evolved over thousands of years from rudimentary drawings of the sun, trees, rivers, and the like into complicated, abstract tangles of lines only vaguely connected to the concepts they signify. Chinese speakers learn to read and write by memorizing thousands of ornate characters, a task that significantly slows their attainment of literacy compared to the speed at which students learn alphabetic writing. Other maddening quirks of Chinese that he deftly explores are its tonal semantics and its relatively small number of phonemes, which make for a bewildering number of homonyms. The word ma, Hung notes, can mean mother, horse, hemp, or to scold depending on the tone of voice, while whole paragraphs can be written using nothing but the syllable “shi.” The author continues with a beguiling tour of China’s linguistic culture, from the folktales behind cryptic Chinese aphorisms—“Ban’s door, display axe” is an injunction to not show off one’s meager skills—to hilariously wrong-headed Chinese-to-English translations in signage. (He finds restaurant menus touting such delicacies as “binaural infected cucumber” and “grilled sexual harassment.”) Hung’s treatise blends wide-ranging, sophisticated, but very readable linguistic analysis with insightful reflections on his personal experience navigating three radically different languages, all packaged in graceful prose that wears its erudition lightly.
An engrossing introduction to the riches of Chinese that should delight casual language mavens and more experienced speakers alike.Pub Date: April 4, 2018
ISBN: 978-0-692-92495-2
Page Count: 238
Publisher: CreateSpace
Review Posted Online: May 11, 2018
Kirkus Reviews Issue: June 15, 2018
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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BOOK TO SCREEN
BOOK TO SCREEN
BOOK TO SCREEN
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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