An elegantly written, precisely observed portrait of a Japanese city and its culture.
An American expatriate’s perceptions of Tokyo, from its places to its moods.
In this essay collection, which was previously published in Japanese, Pronko (The Other Side of English, 2009, etc.) leads readers through his adopted hometown, one vignette at a time. The narrative moves through the city’s physical space, following maps and train lines, as well as what it means to be a Tokyo resident. For example, he covers the reuse of shopping bags and the nuances of bag quality and how one must run the last few feet to catch a train. Pronko sees metaphors throughout the city (“Drink vending machines are like the little cups of water handed to marathon runners as they pass by”) and has an experienced observer’s eye—far from jaded but never squealing with delight when discovering new facets of his host culture. His essays describe the elements of a Tokyo existence in a respectful tone, taking note of the details that make the city unique without exoticizing them. It neither sets up Tokyo as a foil for the shortcomings of Middle America nor devolves into complaints about crowds or the high cost of living in another country. The author’s prose is polished, with pithy insights (“My body adapted to Tokyo long before my mind did”), elegant descriptions (“High heels, a summertime addiction, are thin as chopsticks but loud as kendo swords”), and cultural frames of reference (“Japanese pilgrimages…involve walking around and around a circling route of temples. Western pilgrimages are pretty much straight lines right up to the holy spot and then straight back home”). The result is a cleareyed but affectionate portrait of a city that reaches beyond simple stereotypes. It will draw in readers who have no experience with Japanese culture, but it also highlights details of daily life that will have readers in the know chuckling with recognition.
An elegantly written, precisely observed portrait of a Japanese city and its culture.Pub Date: Nov. 7, 2014
ISBN: 978-1942410003
Page Count: 274
Publisher: Raked Gravel Press
Review Posted Online: April 20, 2015
Review Program: Kirkus Indie
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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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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