In the best of these recent essays, Nobelist Brodsky achieves a unique synthesis of philosophical acumen and literary craftsmanship: considering the exigencies of exile together with those of poetry, reflecting on ethics and aesthetics. Like Less Than One (1986), Brodsky's previous collection of prose, this volume opens with a collage of memories from the author's youth in Leningrad. The theme this time, however, is intimations of America: radio transmissions, lovingly preserved lend-lease remnants (Brodsky focuses on the cult of empty meat tins), and exotic imports like the RCA records, with their famous dog-at-the-gramophone label, that Brodsky's father owned. The mode of reverie that Brodsky employs in this piece serves him well elsewhere in the volume. It reappears in a pastiche of travel dreams and in impassioned reflections on a Soviet stamp honoring British double agent Kim Philby. Too often, however, Brodsky takes on an expository tone that clashes with the essentially elliptical quality of his best insights. Two commencement addresses find him at his best and worst. Whereas Brodsky offers Dartmouth graduates wise words on the unlikely topic of boredom's importance, an audience at Ann Arbor, Mich., receives a hodgepodge of bromides like ``try not to set too much store by politicians.'' Other low points include an aimless account of a decadent writer's junket to Rio and a sententious open letter to V†clav Havel. But a sterling appreciation of Thomas Hardy's subtle poetry more than compensates. Much of Brodsky's best commentary on modern poetry and politics comes indirectly, in imaginative essays devoted to classical figures: Clio, the Muse of history; Horace, the Roman man of letters; and Marcus Aurelius, philosopher and emperor. Brodsky repeatedly cites Frost's line: ``The best way out is always through.'' At his most successful, however, he seems to be following another adage: Emily Dickinson's advice to ``tell all the Truth but tell it slant.''
Pub Date: Jan. 1, 1996
ISBN: 0-374-23415-9
Page Count: 400
Publisher: Farrar, Straus and Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 1, 1995
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
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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