A personal discourse on India, broaching topics cultural, spiritual, and historical, by the Nobel laureate. While employed as a diplomat, the Mexican-born poet lived in India for six years during the 1960s. Neither a memoir nor a scholarly treatment, Paz's work is instead a meditative response to ``the question that India poses to everyone who visits it.'' The question for Paz in particular: ``How does a Mexican writer, at the end of the twentieth century, view the immense reality of India?'' Answering the question, he works most fruitfully when drawing comparisons between Mexican and Indian habits. His range is instructive. For example, Paz writes about the uses of chili peppers in Indian and Mexican cooking, observing the kinship between mole sauce and Indian mola, a type of curry. Later, thinking on a larger scale, he compares the historical sense of each nation: ``Neither the Indians nor the Mexicans deny their past; they cover it over and repaint it. It is a process that is not entirely conscious, and that is its effectiveness, as a protection from criticism. It is a psychological vaccine.'' Paz also considers literary and religious matters at length, writing provocatively about eros in classical Sanskrit poetry and the paradoxes of Hindu morality: ``Indian tradition cannot conceive of freedom as a political ideal or incorporate it into the fabric of society. Not only is such freedom incompatible with the caste system; India lacks a tradition of thinking critically.'' This quote also illustrates the drawbacks of his approach, though, which include a tolerance for clichÇ and a grandiosely oracular intellectual swagger. Some of his more cerebral explorations here also suffer from hubris, intermittent condescension, and an unconcern for triteness of expression (in translation, at least). One pines, perhaps wickedly, for a candid Indian response to Paz's intelligence and his bombast.
Pub Date: March 1, 1997
ISBN: 0-15-100222-3
Page Count: 224
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 15, 1996
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
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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