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THE WELCOME TABLE

AFRICAN-AMERICAN HERITAGE COOKING

In this terrific book Harris (Tasting Brazil, 1992) continues to examine the effect of the African diaspora on our plates and palates. Harris is no dabbler. When she tackles a subject she does so forcefully, as she has done with the recipes collected here. There are five variations on cornbread, ranging from white cornbread baked in a cast-iron skillet to a modern jalape§o version, along with spoon bread, hush puppies, and johnnycakes. Headers for these recipes are informative, well researched, and often wryly funny (``Okra is the Rodney Dangerfield of vegetables,'' begins one on Fried Okra). The chapters, organized traditionally (appetizers, condiments, desserts, etc.), each begin with a profile of an African-American, like Agnes Louard, a retired professor who recalls her mother's chicken-frying prowess, and poet Maxine Clair, who explains how her current vegetarian diet dovetails with the way she ate as a child. In a lively and thorough introduction, Harris notes that these recipes are traditional- -especially the many using bacon drippings—but encourages readers to convert them if desired. There are, however, plenty of refreshingly light choices here as well. For example, cucumbers marinated in vinegar with onions and allspice berries are invigorating. Occasionally, the simpler recipes are on the vague side: One for frying green tomatoes instructs to cut them into ``thick slices'' and neglects to give an estimated time for them to brown. Discoveries like Stoup, a combination of stew and soup, and a tender dandelion salad topped with hot bacon dressing more than counterbalance any failings. Both warmly personal and exactingly professional. (24 2-color line drawings, 26 photos, not seen) (First serial to Gourmet)*justify no* In this terrific book Harris (Tasting Brazil, 1992) continues to examine the effect of the African diaspora on our plates and palates. Harris is no dabbler. When she tackles a subject she does so forcefully, as she has done with the recipes collected here. There are five variations on cornbread, ranging from white cornbread baked in a cast-iron skillet to a modern jalape§o version, along with spoon bread, hush puppies, and johnnycakes. Headers for these recipes are informative, well researched, and often wryly funny (``Okra is the Rodney Dangerfield of vegetables,'' begins one on Fried Okra). The chapters, organized traditionally (appetizers, condiments, desserts, etc.), each begin with a profile of an African-American, like Agnes Louard, a retired professor who recalls her mother's chicken-frying prowess, and poet Maxine Clair, who explains how her current vegetarian diet dovetails with the way she ate as a child. In a lively and thorough introduction, Harris notes that these recipes are traditional- -especially the many using bacon drippings—but encourages readers to convert them if desired. There are, however, plenty of refreshingly light choices here as well. For example, cucumbers marinated in vinegar with onions and allspice berries are invigorating. Occasionally, the simpler recipes are on the vague side: One for frying green tomatoes instructs to cut them into ``thick slices'' and neglects to give an estimated time for them to brown. Discoveries like Stoup, a combination of stew and soup, and a tender dandelion salad topped with hot bacon dressing more than counterbalance any failings. Both warmly personal and exactingly professional. (24 2-color line drawings, 26 photos, not seen) (First serial

Pub Date: Feb. 1, 1995

ISBN: 0-671-79360-8

Page Count: 400

Publisher: Simon & Schuster

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Dec. 1, 1994

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DYLAN GOES ELECTRIC!

NEWPORT, SEEGER, DYLAN, AND THE NIGHT THAT SPLIT THE SIXTIES

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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THE ELEMENTS OF STYLE

50TH ANNIVERSARY EDITION

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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