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My Father's Son

A MEMOIR

A snappy, sensitive autobiography.

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In this well-crafted debut memoir, Davis recounts his early life with an angry, drug-dealing father and comes to terms with the fact of his adoption.

“My earliest memory is of a gun,” the author writes. He was 5 years old in 1970s Brooklyn, and his parents’ regular fighting, he says, had escalated to the point that his father had put a gun to his mother’s head. This serves as a shocking, visceral opening to a tightly constructed memoir in which Davis contrasts his two father figures. He devotes Part I to the man that he grew up thinking was his father, a hot-tempered illegal immigrant from Argentina who worked as a butcher, cutting corners and playing cruel jokes on customers and employees. The author writes of times when he says his father locked him in a meat freezer or shut his fingers in a car window. Davis has a knack for re-created dialogue—especially his parents’ shouts, all in capital letters—and for alternately blunt and jarring chapter-opening lines. Aptly imitating a childhood perspective, Davis at one point remembers imagining “small devil horns” near his father’s hairline. Yet after his father served 11 years in Sing Sing for selling drugs, Davis—then an adult—wrote a letter pleading leniency to stop his deportation. Instead of depicting his parent as a total monster, the author acknowledges psychological nuances by pinpointing moments that show the man’s tender core, such as when he asked his sons repeatedly if they loved him or allowed John to teach him English pronunciation. In Part II, Davis tells how he learned, at age 34, that he was adopted. He then discovered that his biological father, a Milwaukee pizzeria owner and amateur musician who left when John was 18 months old, had recently died of cancer. If Davis’ adopted father is the book’s presiding demon, his biological one is the angel: he “has become a deity to me; an almost mythical figure,” Davis observes. By including only information about his fathers, the author keeps this memoir brief and focused. As a result, there’s remarkable thematic unity here rather than a misguided drive for comprehensiveness that one often finds in memoirs.

A snappy, sensitive autobiography.

Pub Date: Dec. 9, 2015

ISBN: 978-1-4787-6419-9

Page Count: 158

Publisher: Outskirts Press Inc.

Review Posted Online: Nov. 18, 2015

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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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