As usual for Oates in whatever form she's working, these seven essays are a mixed bag. Here, she is perfectly willing to write, ponderously: "What we experience as infinite and universal, then, must be seen as a direct response to a given environment: not necessarily our environment, but valuable so far as the repressive nature of any force external to the individual can be externalized as a historical given." A jawbreaker like "Joyce's exhibitionisticicity" blithely roils out. Still, in her discussions of Dostoevsky, Conrad, Wilde, Scottish ballads, Lawrence, and Joyce, Oates surprisingly divorces herself from a celebration of the "tragic," often identified with her own fiction; instead, stressing what she sees, for instance, as Lear's ultimate failure because it does try too hard for destructive hopelessness, she plumps for the transcendence, even the comedy, of archetype; of "visionary expressions." Her involvement with the specific texts (Dorian Gray, Nostromo, Ulysses) is very close: if anything, what prevents this from being a truly impressive collection of criticism is its failure ever to pull upward, to stop boring in; when Oates discusses the Scottish and British Childe ballads, and opposes their New Critical interpretation, she loses us by the wayside halfway through but never seems to notice. These essays are hardly graceful, then; but they have admirable, microscopic commitment, which is a pleasure all of itself.
Pub Date: April 23, 1981
ISBN: 0195028848
Page Count: 214
Publisher: Oxford Univ.
Review Posted Online: Oct. 2, 2011
Kirkus Reviews Issue: March 1, 1981
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
© Copyright 2025 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
