Gracelessly written, but indispensable to students of Ellison, Oklahoma City in the 1920s, or Harlem in the ’40s.
Painstaking biography covering the first half of the noted African-American writer’s life, through his acceptance of the National Book Award in 1953.
Ellison (1914–94) grew up in Oklahoma City. His beloved father died when Ralph was three; thereafter he shuttled from address to address with his mother, whose ferocious self-respect made both employment and housing opportunities precarious. The intelligent boy’s struggles with poverty and racial strife were mitigated by exposure to a good library, a visionary music teacher, and exceptional local jazz. Later, he won a scholarship from Tuskegee Institute's prestigious music school to study trumpet and conducting. The need for money led him in 1936 to New York, where he was introduced to Langston Hughes and within weeks had shifted his orientation to literature and left-wing politics. With Hughes as his mentor, Ellison launched himself in literary and political circles both up- and downtown. He served as editor of The Negro Quarterly and consolidated his reputation as a critic with his advocacy of Richard Wright's Native Son. Jackson (English/Howard Univ.) illuminates the complicated ways in which Ellison's career was shaped by his relationship with Wright, with whom he shared a rural background, modernist tastes, and an ambivalent relationship with the Communist Party, and whose success spurred Ellison's desire to write fiction. After WWII, his second wife Fanny's income and companionship allowed him to concentrate on the protean novel that eventually became Invisible Man, the masterpiece that catapulted him to fame in 1952. Jackson's scholarship is thorough, his insights valuable, but his prose, marred by idiomatic blunders and muddy sentence structure, is only just adequate to convey the complex temperament of his subject. Ambitious, original, dedicated, and lucky, Ellison seems at once isolated from and excessively dependent on his professional milieu; despite the biographer’s emphasis on effort and integrity rewarded, sadness and desperation haunt this life.
Gracelessly written, but indispensable to students of Ellison, Oklahoma City in the 1920s, or Harlem in the ’40s.Pub Date: Nov. 2, 2001
ISBN: 0-471-35414-7
Page Count: 512
Publisher: Wiley
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 15, 2001
BOOK REVIEW
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
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