Veteran biographer Gordon ballasts Eliot’s listing reputation with a weighty volume that combines—with heavy revisions and some new additions—her well-received partial biographies Eliot’s Early Years (1977) and Eliot’s New Life (1988). Eliot’s decision to frustrate biographers hampered Gordon’s first two books (as well as Peter Ackroyd’s incisive complete life in 1984). Since then, Eliot’s early correspondence and the apprentice poems Inventions of the March Hare have been published, and Gordon has assiduously tracked down correspondence and manuscripts that the Eliot estate has not put under embargo. Her thesis, first stated in Eliot’s Early Years, that his poetic output, from the Modernist despair of The Waste Land to the sacred quests of Four Quartets, should be interpreted as an essentially coherent spiritual biography is reinforced in this newest volume. Delving into Eliot’s reading, from Jules Laforgue’s submerged religious obsessiveness to Lancelot Andrewes’s sermons, Gordon puts Eliot’s religious conversion to an idiosyncratically Puritanical Anglo-Catholicism in the context of his family’s Bostonian Unitarian tradition and New England Calvinism, although she also believes his search for saintliness was a failure. For what she calls a “public hermit,” the difficulty of mapping an inner life is further complicated by Eliot’s loathing of self-revelation, in both his private and public existence. Gordon also deals with his flaws: anti-Semitism, misogyny, and a penchant for scatological verse are among the most glaring. As Gordon laid out in her second volume, one of Eliot’s worst personal failures was his inability to commit to a shared life with Emily Hale, whom he had known since 1913. Despite Gordon’s painstaking reconstruction of this crucial relationship here, much remains unsaid: Eliot had Hale’s letters to him destroyed, and his to her are sealed until 2019. Whatever Eliot’s biographic blanks, An Imperfect Life intelligently charts his lifelong “escape from personality.” (b&w photos, not seen)
Pub Date: Aug. 1, 1999
ISBN: 0-393-04728-8
Page Count: 672
Publisher: Norton
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 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
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