A remarkable examination of the Mexican Revolution that should be regarded as a watershed contribution to the field.
A debut book provides the first comprehensive account of military operations during the Mexican Revolution to appear in English.
For reasons both practical and ideological, history scholars have long neglected to rigorously study the Mexican Revolution as a uniquely interesting military event. Instead, it has been interpreted as little more than the stage for unsophisticated guerrilla actions. In this work, Janssens dismantles that long-held prejudice, arguing that the full spectrum of conventional warfare was on display, including genuinely masterly strategy. The book subdivides into three sections, or “volumes,” that neatly correspond to the three successive phases of the war: the initial rebellion spearheaded by Francisco I. Madero, the grand-scale mutiny against the Huertista regime, and the final year, in which the revolution devolved into civil war. The author also challenges the prevailing view regarding the role the U.S. played in the revolution, acknowledging its significance as a source of influence but debunking the theory that it determined Mexico’s fate like a puppet master. This requires a searching examination of American policies and interests, which shift in various ways over the course of two presidential administrations. Finally, Janssens analyzes the fluid contours of what he refers to as the “Defense Establishment,” an investigation that hinges upon a historical understanding of modern warfare in general. The author was granted access to Mexico’s official defense archives—a rare coup—and the breadth of literature on the Mexican Revolution he considered is dizzying. Janssens, clearly intent on breaking new scholarly ground, spiritedly attacks the conventional theories regarding the genesis of the revolution; of particular interest is his discussion of the limitations of a reductively Marxist interpretation. The author openhandedly acknowledges that such a mountain of minutiae might exhaust the reader’s patience; it often seems as if the goal of comprehensiveness comes at the expense of readability. This is certainly not for the casual reader looking for a breezy introduction. The monograph, ambitiously designed to be both encyclopedic and iconoclastic, succeeds on both grounds. It is hard to imagine a study more sweeping in scope, more liberated from the regnant ideologies, or more scrupulously researched. It is unfortunate that its length (698 pages) and obsessive details will likely prove prohibitive to all but the most tenacious professionals.
A remarkable examination of the Mexican Revolution that should be regarded as a watershed contribution to the field.Pub Date: Nov. 20, 2015
ISBN: 978-0-9964789-0-8
Page Count: 738
Publisher: Revolution Publishing
Review Posted Online: Feb. 8, 2016
Kirkus Reviews Issue: March 15, 2016
Review Program: Kirkus Indie
BOOK REVIEW
BOOK REVIEW
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
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
BOOK REVIEW
BOOK REVIEW
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