An astonishingly dull but comprehensively annotated collection of letters from an unexceptional period in Twain's life. Like the phone book, this is one of those hefty tomes you're terribly glad exists, even though there's little reason to go through it cover to cover. Its very thoroughness, its rounding up of every epistolary scrap, from bills, to perfunctory thank-yous, to itineraries of arrivals and departures, ensures vast stretches of tedium. But even when not quarreling over printing details with his publisher or setting up dates for speaking tours, Twain the correspondent bears little relationship to Twain the genius of 19th-century American literature. Even when he is corresponding with intimate friends or his beloved wife, Olivia (Livy), there is an unrevealing quality to almost every letter, as if he were deliberately resting his talent. Salamo and Smith (members of the Mark Twain Project at the Bancroft Library, Univ. of California) are to be commended for the incredible depth, range, and detail of their work. Their scholarship is impeccable, their erudition extensive—one has the feeling that they could probably account for almost every hour of Twain's life—and learned footnotes abound, often dwarfing the brief letters. During this time span, Twain embarked on building a house, suffered the death of a child, and made regular visits to England, sometimes to lecture, sometimes to bask in the warm admiration of the British. He also published his only cowritten book (The Gilded Age, with Charles Dudley Warner). But Huckleberry Finn and the full flowering of Twain's talent are still several years away. A major scholarly resource, but slow-going and unrewarding, proof of how compartmentalized genius can sometimes be. (80 b&w illustrations, not seen)
Pub Date: June 1, 1997
ISBN: 0-520-20822-6
Page Count: 928
Publisher: Univ. of California
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 15, 1997
BOOK REVIEW
BOOK REVIEW
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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