A lot of information crammed into a few pages, but the modest thesis rings true.
Novelist and popular historian Standiford (Washington Burning: How a Frenchman’s Vision of Our Nation’s Capital Survived Congress, the Founding Fathers, and the Invading British Army, 2008, etc.) revisits the genesis of the great English writer’s most enduring book.
Also scattered through the text are stories about how December 25 became Christmas; how fir trees, greeting cards, turkeys and Santa got involved; and how Christmas transformed from a minor holiday, secondary on the Christian calendar to Easter, into the multimonth mega-holiday/shopping spree it has become. Charles Dickens (1812–70), Standiford asserts, set a-rolling down history’s hill the giant Christmas snowball we now enjoy—or endure or deplore. The author easily, graciously and repeatedly acknowledges his debt to the heavy lifting of other scholars, principally biographer Peter Ackroyd (Dickens, 1990) and indefatigable literary historian Michael Patrick Hearn (The Annotated Christmas Carol, 2003). In many instances, Standiford is summarizing, musing and generalizing, but effectively so. One major narrative thread is Dickens’s troubled childhood, which occasioned some of the greatest fiction in the English language. At the time he created A Christmas Carol (1843), however, the author’s career was slipping. Martin Chuzzlewit, still in serial, was not faring well and he was in debt and additionally burdened by supporting his improvident father. He wrote his Christmas fable in six swift weeks, and the first printing of 6,000 copies sold out in days, though the expenses of publication negated much of the author’s initial profit. Career revived, Dickens wrote four more Christmas books, all popular and all swiftly summarized here. A Christmas Carol would prove astonishingly durable, transforming into plays, films, cartoons, radio and TV shows, and an irascible Disney drake named McDuck. The author rightly focuses on the secular humanism and benevolence Dickens espoused.
A lot of information crammed into a few pages, but the modest thesis rings true.Pub Date: Nov. 25, 2008
ISBN: 978-0-307-40578-4
Page Count: 256
Publisher: Crown
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 1, 2008
BOOK REVIEW
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
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
BOOK TO SCREEN
BOOK TO SCREEN
BOOK TO SCREEN
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