Instructive, well-poised lessons from the trenches.
Nostalgic, reflective essays on the writing life by the South African novelist Freed (House of Women, 2002, etc).
Her favorite writers are V.S. Naipaul, Marguerite Duras, and Nancy Mitford, from whose work she quotes often in establishing the autobiographical cord to a novelist’s craft. In 11 essays, Freed traces her trajectory from a 1960s childhood in Durban, South Africa, to her reinvention as a much-married expatriate novelist living in California. Freed begins with her reading lists as a child (Enid Blyton and the plays of J.M. Barrie) in an affluent household that until the mid-1970s, she notes, knew no television. The author dwells on the contrasting personalities of her parents, both actors. Freed’s flamboyant, assertive Jewish mother was an especially strong presence; “the love affair she conducted with trouble” obsessed her daughter for 30 years. In the essay “Honorary Son,” she explains that because her two older sisters were beautiful and being groomed for marriage, and her four “shadow” brothers had died in miscarriage, plain Freed was allowed to discover her true nature from her parents’ beneficent neglect, and she gained confidence through defiance and self-assertion. “My sense of male entitlement has carried easily into every sphere of my life,” she writes. She explores the autobiographical elements at length in her novels, especially the first, Home Ground, with its explosive opening paragraph detailing a white child’s “pulling on the penis of the garden boy.” (28) The book was subsequently banned in apartheid South Africa and beyond. Two essential elements in the development of the writer: years of practice and ruthlessness. Her own sense of ruthlessness took her away from her homeland, as an exchange student in Far Rockaway, New York, and later as a teacher trying to impart to her writing students how to sustain a “focus” she took many years to find in her own life.
Instructive, well-poised lessons from the trenches.Pub Date: Sept. 1, 2005
ISBN: 0-15-101132-X
Page Count: 240
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 1, 2005
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
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BOOK TO SCREEN
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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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