As with many volumes of selected letters, this one is studded with interesting material but patchy overall.
Laura Ingalls Wilder (1867-1957) scholar Anderson (River Boy: The Story of Mark Twain, 2003, etc.) presents a collection of her heretofore unpublished personal and business letters.
This collection is by no means exhaustive, and in his introduction, editor Anderson laments that many of Wilder’s letters were lost. Still, the letters written to her daughter Rose Wilder Lane during the production of the Little House series open a window into the author’s writing process and her apparent collaboration with her daughter on the series. The anthology is often uneven, especially the first few chapters, in which many of the letters are edited in a manner that leaves their contents unclear and others are short postcards that convey no relevant information. Anderson provides some brief context, but only readers intensely interested in the minutiae of Wilder’s life—for instance, what kind of melons she sent to her husband—will find these engaging. Anderson warns that passages that “contain redundant information” will be replaced throughout the book with either ellipses or italicized summaries of the contents, but in these early chapters, the ellipses are ubiquitous, and it is rarely clear what redundancies have been edited. Eventually, though, the collection becomes delightful as Wilder begins work on her famous book series. Letters sent to her daughter, editor, agent, and fans all demonstrate intriguing aspects of her childhood, home life, and writing process. It’s unfortunate that the collection contains so few of the letters written to Wilder by others. One of the pleasures of reading correspondence is the feeling of intimacy conferred by seeing a relationship unfold. With only one side of the many relationships portrayed here, some of that intimacy is lost.
As with many volumes of selected letters, this one is studded with interesting material but patchy overall.Pub Date: March 8, 2016
ISBN: 978-0-06-241968-2
Page Count: 416
Publisher: Harper/HarperCollins
Review Posted Online: Jan. 1, 2016
Kirkus Reviews Issue: Jan. 15, 2016
BOOK REVIEW
BOOK REVIEW
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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