by John Connally with Mickey Herskowitz ‧ RELEASE DATE: Nov. 1, 1993
In a crowded life that ended this June, Connally was aide and confidant to Lyndon Johnson, businessman, secretary of the navy, governor of Texas, secretary of the treasury under Nixon, and presidential candidate. But he understood that he would be ``identified forever as the man who was wounded by the gun that killed John Kennedy,'' as he acknowledges matter-of-factly in this memoir (written with Herskowitz, coauthor of autobiographies of Dan Rather and Bette Davis). Two chapters here recount Connally's version of November 22, 1963, as he takes up arms against conspiracy theorists (including Oliver Stone) for ``renewing the nation's most haunting ordeal'' (ironically, the author's death from complications caused by his Dallas wounds have led conspiracy theorists to call for an autopsy). But even aside from the ``six seconds in Dallas,'' the rest of Connally's life still would be enough to merit his reminiscences—which, besides his stints in public office, cover his 1973 switch from the Democratic to the Republican Party; his 1974 indictment and acquittal on bribery charges in connection with the Watergate-era ``milk fund''; and his 1987 bankruptcy. Yet despite his distance from these events, Connally is seldom forthcoming about them—for instance, thanking Barbara Jordan for testifying on his behalf at his trial despite her disagreement ``with several of my political beliefs,'' but never explaining what those beliefs are (though they must relate to Connally's lukewarm stance on civil rights, a convulsive issue on which he's totally silent here). The best chapters detail the author's relationship with LBJ, whom Connally characterizes with affectionate exasperation as a kind of political older brother—impossible to work for but desperately craving to be liked. Like two other rangy Texans, Sam Houston and LBJ, Connally became a major controversial national figure by transforming his state. But while bristling with self-confidence and energy, his memoir tells little about the source of his Texas Tory beliefs. (Sixteen pages of b&w photographs—not seen)
Pub Date: Nov. 1, 1993
ISBN: 1-56282-791-X
Page Count: 400
Publisher: Hyperion
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 1, 1993
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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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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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