A massively erudite, groundbreaking revision of the novel's historical development. Traditionally, Anglo-American criticism located the rise of the novel in 18th-century England and the troika of Defoe, Richardson, and Fielding. The realism that characterized their books—Robinson Crusoe, Pamela, etc.—was declared to be the hallmark of a new and wonderful genre: the novel. The thousands of prose fictions that had come before were dismissed as mere romances or that bland entity, ``extended prose works.'' Doody's (Comparative Literature/Vanderbilt Univ.; Frances Burney, 1988, etc.) goal is nothing less than to restore these slighted works, particularly those from the classical world, to the novel's fold, to their proper and primary place in the Western canon. Starting in 100 b.c. with the oldest surviving novel, the Greek Chaireas and Kallirroe by Chariton, Doody convincingly demonstrates the underlying realism of these neglected novels as, point by point, from questions of character and voice to literary self- consciousness, she demolishes the previous quibbling barriers. She also demonstrates how the classical novels, particularly Apuleius's The Golden Ass, continued to influence more modern novels (her ability to cross-reference is truly breathtaking). Taking a few too many pages from Jung, Doody then goes on to elaborate the deep mythic structures—from dreams to death to goddess worship—that all novels share; apart from further proving her continuity thesis, most of this feels overlong and out of place. We will probably never know what really was the first novel, but Doody, building on the work of others, argues cogently for the form's religious beginnings—a ritual diary of an initiate's path to spiritual gnosis. In her view, the modern novel is not that different: ``We make a not unimportant spiritual and political as well as personal move when we open a novel and become initiates, entering upon the marshy margins of becoming.'' Despite some minor imperfections, a major, even seminal work. (8 color, 39 b&w illustrations, not seen)
Pub Date: March 1, 1996
ISBN: 0-8135-2168-8
Page Count: 675
Publisher: Rutgers Univ.
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 1, 1996
BOOK REVIEW
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
This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)
Pub Date: Oct. 28, 1996
ISBN: 0-15-100227-4
Page Count: 136
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1996
BOOK REVIEW
BOOK REVIEW
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