by Jeffrey Tayler ‧ RELEASE DATE: Feb. 15, 2005
Moreover, Angry Wind merits a solid audience at the African desks of Western intelligence agencies. There’s trouble brewing...
An often scintillating if sometimes sluggish tour of the western Sahel, that narrow coast of dry land between the Central African rainforest and the oceanic Sahara.
Much of that country is ethnically black but culturally Arab, the product of nothing short of cultural imperialism among the Arabs, slave traders in the not-so-distant past. The Arab conquest of the Sahel is incomplete, writes Tayler (Facing the Congo, 2001, etc.), but ongoing and scarring. Why not, then, call it imperialism? Well, answers Tayler, “calling the presence of Arabs here unjust amounted to attacking Islam and was impermissible; hence the Africans suffered their anti-Arab grievances with downcast eyes.” Indeed, as Tayler travels through Senegal, Mali, Niger, Nigeria, and Chad, the open anger he encounters is almost always directed against America in the abstract (and sometimes against Americans, namely him, in the particular). The Sahelians’ anger is understandable, Tayler suggests. These poor regions have been badly used, left alone to suffer, and allowed to become failed states bound up as nations mostly out of geographic convenience during colonial times; and whereas France and England should properly feel their wrath, what the desert-dwellers see on television is America as anti-Islamic crusader. “To stop one man, Osama,” yells one Sahelian he encounters at a Chadian oasis, “you destroyed an entire country, Afghanistan—a country of the poorest people on earth. Is that manly—picking on those poor Afghans?” No empty rhetoric, that, and the Sahel, writes Tayler, is a fertile recruiting ground for al Qaeda; Osama bin Laden identified Nigeria as particularly ripe, sick as it is politically yet bursting with oil wealth. Not all of Tayler’s set pieces work, and his travelogue is sometimes as wearying to read as it must have been to research. Still, there are some fine moments here, and Tayler’s righteously indignant arguments against female circumcision should be required reading for the cultural-relativist set.
Moreover, Angry Wind merits a solid audience at the African desks of Western intelligence agencies. There’s trouble brewing in the Sahel, Tayler warns: Don’t say no one told you so.Pub Date: Feb. 15, 2005
ISBN: 0-618-33467-X
Page Count: 272
Publisher: Houghton Mifflin
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 15, 2004
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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 E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996
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
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by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson
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by E.T.A. Hoffmann & illustrated by Julie Paschkis
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