An elegiac essay on memory and the power of storytelling by a master of the art. Well-known as a Pulitzer-winning novelist (Duane’s Depressed, 1998, etc.), McMurtry turns less often to nonfiction. It’s usually a delight when he does. In this book-length meditation on the past—his own, that of his ancestors, and that of the corner of west Texas whence they hail—McMurtry works from an unlikely conceit: rereading the work of the German-Jewish literary journalist Walter Benjamin over a lime Dr. Pepper (for which he gives the recipe) at a drive-through diner out on the dry plains of Archer City, the town McMurtry made famous in The Last Picture Show and other novels. Benjamin never saw a prickly pear in his life, but he had much to say about personal history and storytelling in an age that isn—t much interested in either. So, too, does McMurtry, who touches on issues of his craft (he writes that one of his purposes as a novelist has been to people the empty frontier in which he grew up), the pleasures of reading and collecting books, the lost art of conversation over supper, the aftereffects of heart attacks and urban renewal, and the tricky business of memory. (In west Texas, he observes, “Sudden death, particularly death on the highway—as much a part of that culture as football—lodged in people’s memories, whereas about almost everything else they were vague—). It’s philosophy, literary criticism, and memoir all rolled up into one neat package, and McMurtry’s constant readers will find much pleasure in these pages.
Pub Date: Nov. 1, 1999
ISBN: 0-684-85496-1
Page Count: 208
Publisher: Simon & Schuster
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 1999
The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the...
Elie Wiesel spent his early years in a small Transylvanian town as one of four children.
He was the only one of the family to survive what Francois Maurois, in his introduction, calls the "human holocaust" of the persecution of the Jews, which began with the restrictions, the singularization of the yellow star, the enclosure within the ghetto, and went on to the mass deportations to the ovens of Auschwitz and Buchenwald. There are unforgettable and horrifying scenes here in this spare and sombre memoir of this experience of the hanging of a child, of his first farewell with his father who leaves him an inheritance of a knife and a spoon, and of his last goodbye at Buchenwald his father's corpse is already cold let alone the long months of survival under unconscionable conditions.
Pub Date: Jan. 16, 2006
ISBN: 0374500010
Page Count: 120
Publisher: Hill & Wang
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: Jan. 15, 2006
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
© 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.
