A superb outing from a gifted young critic that will spark joy for many readers.
From the delights of decluttering to the stillness of Kyoto’s rock gardens—an intriguing deep dive into the many manifestations of minimalism.
In this lively debut, freelance writer Chayka (New York Times Magazine, n+1, Paris Review, etc.) explores the universal desire for a “different, simpler…more authentic world” as evinced in the austerity of minimalism. Feeling overwhelmed by materialism, many of us believe “less could be better than more—in possessions, in aesthetics, in sensory perception, and in the philosophy with which we approach our lives.” The author’s book draws on examples from throughout history, as seen through the lens of four common qualities: reduction (seeking simplicity through getting rid of things), emptiness (including the minimalism of architect Philip Johnson), silence (exemplified by composer John Cage’s 4’33”), and shadow (reflecting the ambiguity of Japanese Buddhism). In Chayka’s view, the trendy lifestyle minimalism made popular by Marie Kondo and celebrated on SoHo storefronts (“Fewer, better”) is the least of it. Sorting through your house will not bring “happiness, satisfaction, and peace of mind.” The author’s main interest is in the deeper minimalism of visual art, music, and philosophy that works “against” strict rules, offering no advice or solutions but confronting “existential questions on how to live in the modern world.” The best of minimalism, argues Chayka, is found in “the fundamental miracle of our moment-to-moment encounter with reality” in the “quietly meditative” paintings of Agnes Martin, the metal boxes (“just there, without content”) of artist Donald Judd, and Japanese philosopher Shuzo Kuki’s (1888-1941) writing on “iki,” the acceptance of uncertainty. Chayka discusses the lives and works of these and other minimalists, and he chronicles his visits to museums, Zen gardens, art installations, and a sensory deprivation spa, where he discovered the pleasantness of nothingness. The book is so thoughtful and absorbing it is quibbling to wish there were more photos and some consideration of literary minimalism.
A superb outing from a gifted young critic that will spark joy for many readers.Pub Date: Jan. 21, 2020
ISBN: 978-1-63557-210-0
Page Count: 272
Publisher: Bloomsbury
Review Posted Online: Nov. 4, 2019
Kirkus Reviews Issue: Dec. 1, 2019
BOOK REVIEW
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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