Not self-help by any stretch, but it will be of interest to anyone recently touched by death.
A series of personal essays about death, by someone who has seen more than her share of it recently and who, due to her own advancing multiple sclerosis, has reason to contemplate her own.
As she’s done throughout her earlier work (Waist High in the World, 1997, etc.), Mairs draws on her own often harrowing experience to illuminate a subject Americans find difficult to confront: in this case, death. As she puts it at the start, “few seem capable of contemplating their own end . . . I thought I might try.” In clear, unaffected prose that quickly establishes—along with her candor—an intimacy with the reader, Mairs begins by explaining her feelings toward her own impending death. At this point, her MS has confined her to a wheelchair, rendering even the simplest things, such as using the toilet, major undertakings. As someone who views death as both a natural condition of life and who also believes that the essence of a person survives death in some form, Mairs appears to have attained an enviable equanimity respecting her own mortality. Yet even she concedes that the prospect awakes a nostalgia for those pleasures that make us human, like the “bob and snuffle of a newborn’s head against a shoulder.” As she puts it, “I find myself overcome with grief for a slew of ‘nevers’ and ‘never agains.’ ” Despite the obvious loss that death entails, Mairs urges us to confront it openly and without fear. Those mourning loved ones, for instance, suffer when their friends, out of a misguided sense of politeness or simple embarrassment, fail to acknowledge the death with anything more than a mumbled platitude. In a similar vein, Mairs warns that death with dignity is possible, but only if death is contemplated in advance so that the end, particularly with respect to medical intervention, can be controlled.
Not self-help by any stretch, but it will be of interest to anyone recently touched by death.Pub Date: Oct. 15, 2001
ISBN: 0-8070-6248-0
Page Count: 240
Publisher: Beacon Press
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 2001
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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