Charyn's fascination with quirky New York crime stories (El Bronx, p. 21, etc.) takes its cue from his early childhood, as this brief, charming, idiosyncratic memoir shows. He was an oddly brainy young boy, growing up in a cartoonlike world of larger-than-life adult personalities, set against the rich backdrop of the Bronx during the early 1940s. His childhood, he says, was dominated by the ``magical equation that existed between mom and me.'' His exasperated, distant, womanizing father found it increasingly difficult to reach, or control, either his energetic son or his brooding, beautiful Russian wife. Indeed, his mother came to depend on Jerome so much that, for a time, she kept him out of school. He was her escort, cook, dresser, and the chief mediator between her and the onslaught of men who found her irresistible. ``Faigele,'' as she was affectionately called, suffered repeatedly from crushing spells of depression, brought on by her concern for a beloved brother caught behind German lines in Russia. Charyn's recollections of his complex, tough, yet melancholic mother, and of the circle of small-time corrupt politicos and crooks with whom she became associated (she was recruited to become the dealer at a regular high-stakes card game), come untainted by the judgments of adulthood, so full are they of inclusive, childlike love, language, pardon, and even joy. He worked to pull her through her dark periods. And she, in turn, protected him from the sporadic attentions of his father, labored at a variety of jobs to keep him fed and clothed, and encouraged his appetite for life. Wisdom fell hard into this young life, outstripping language by a long shot. In remembering the Dark Lady from Belorusse, Charyn walks alongside his muse. He unites the colorful and loving boy that was, with the unique crime writer he became. Youth was the magical place of Charyn's inspiration and it is captured here honestly and simply. (photos, not seen)
Pub Date: Oct. 17, 1997
ISBN: 0-312-16808-X
Page Count: 112
Publisher: Dunne/St. Martin's
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1997
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
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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