A rambunctious volume of short, well-crafted essays from a man with a strong point of view.
A collection of political and cultural essays tackles big issues.
“Most of my life I’ve been called both unrealistically naive and overly cynical,” writes Townsend (Human Compassion for Beginners, 2018, etc.) in the introduction to this volume, which covers many of the most divisive fault lines in the current political moment. Perhaps both of these things are requirements for a progressive—or at least one with a sense of humor—which is what the author reveals himself to be as he opines on such topics as religion, capitalism, and the ballooning climate crisis. He gets into narrower issues as well, including in his critique of Israel’s Palestinian policy from the perspective of a Jewish American (albeit one who converted to Judaism after leaving the Church of Jesus Christ of Latter-day Saints of his youth). He writes about why classes on race, gender, and social justice should be mandatory in the workplace. He bemoans the internecine fighting in the Democratic Party between moderates and progressives, all of whom seem more willing to blame Democrats than denounce the Republicans. Each essay comes from Townsend’s particular perspective of growing up gay in the conservative confines of the Latter-day Saints church as well as the pull between the traditions of his upbringing and the necessities of an inclusive modern society. Through anecdotes, observations, and a fair bit of ranting, the author attempts to cajole America back into some semblance of common sense. Townsend writes in an energetic prose that balances crankiness and humor. “When Facebook developed its additional line of emojis to satisfy users who wanted to do more than simply Like another person’s post or comment, we were happy,” begins one essay. “After all, if a Friend posted about their dying cat, we could hardly click Like in response.” The book reads more like a collection of newspaper columns than a work of cultural criticism (and many of these pieces did originally appear as editorials). How much readers will agree with the author will likely depend on their own political beliefs. That said, those who share his worldview—and perhaps feel that same cynic/naif dichotomy within themselves—will applaud his arguments, particularly those regarding the seriousness of climate change.
A rambunctious volume of short, well-crafted essays from a man with a strong point of view.Pub Date: Feb. 25, 2019
ISBN: 978-1-64438-034-5
Page Count: 240
Publisher: Booklocker.com, Inc.
Review Posted Online: Sept. 12, 2019
Kirkus Reviews Issue: Oct. 15, 2019
Review Program: Kirkus Indie
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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BOOK TO SCREEN
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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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