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CAPTIVES

THE STORY OF BRITAIN’S PURSUIT OF EMPIRE AND HOW ITS SOLDIERS AND CIVILIANS WERE HELD CAPTIVE BY THE DREAM OF GLOBAL SUPREMACY

A nuanced complement to the growing library of revisionist histories of empire.

Of empire-building, discovering the Other, and going native: a thoughtful reappraisal of England’s centuries-long process of world conquest.

English literature offers two great, conflicting parables of that process, writes Colley (History/Princeton Univ.; Britons: Forging the Nation, 1707–1837). The first is Defoe’s Robinson Crusoe, whose shipwrecked protagonist “uses force and guile to defeat incomers who are hostile, while firmly organizing those who defer to his authority”; the second is Swift’s Gulliver’s Travels, whose eponymous hero finds himself captured by unimpressed locals who “sell him like a commodity, turn him into a spectacle, and sexually abuse him.” Both parables are useful to keep in mind, Colley writes, in following the fortunes of the British warriors who carved out an overseas empire hundreds of times larger than their homeland and dominated a quarter of the world’s people. Many of them fell captive to the nations they set out to overwhelm, and much of England’s knowledge of those nations came from their accounts of being ransomed or escaping, through books and broadsides such as Joseph Pitts’s True and Faithful Account of the Religion and Manners of the Mohammetans (1704). Colley combs through that library to chart Britons’ evolving view of their would-be subjects, and offers some interesting notes along the way; for instance, while discussing representative texts of the “Indian captivity narrative,” perhaps the earliest literary genre of European America, she volunteers that Britons’ relations with peoples throughout the world were “complex, mutually uncomprehending, but by no means automatically hostile,” a far more useful take than the usual good-versus-bad of postcolonial studies. Indeed, Colley writes, the most successful of the empire’s soldiers had the wisdom to acquire knowledge of the other, court “indigenous tolerance,” and even consent, and otherwise behave in un-Crusoe–like ways as they went about their business—behavior that counted as much as any weapon in coloring so much of the world map scarlet once upon a time.

A nuanced complement to the growing library of revisionist histories of empire.

Pub Date: Jan. 7, 2003

ISBN: 0-375-42152-1

Page Count: 464

Publisher: Pantheon

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Nov. 15, 2002

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DYLAN GOES ELECTRIC!

NEWPORT, SEEGER, DYLAN, AND THE NIGHT THAT SPLIT THE SIXTIES

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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THE ELEMENTS OF STYLE

50TH ANNIVERSARY EDITION

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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