A sure-to-be controversial bio-historical feast: Shakespeareans will devour it.
Massive biography of the Bard creates as many myths as it debunks.
Any who harbor doubts as to creativity’s vital role in scholarly work need look no further than here. Weis (English/University College, London; The Yellow Cross: The Story of the Last Cathars, 2001, etc.) uncorks great casks of knowledge about Elizabethan England and Shakespeare’s oeuvre to animate the Bard’s rich life and times. To reconstruct—some would say, construct—this life about which so little is known, he sets biographical criticism on its ear by attempting to exhume otherwise hidden events in Shakespeare’s life from his work, while simultaneously using known historical occurrences to inform critical readings of the texts. “The plays and poems contain important clues to Shakespeare’s inner life and to real, tangible, external events he experienced,” Weis writes. “There is a cumulative amount of circumstantial evidence that demonstrates beyond doubt that Shakespeare responded in his work to key events of his life….to disembody the plays and poems from the life of their author is as counterintuitive as seeking to separate him from the national history of his era.” The author’s impassioned investigations lead him to advance all kinds of qualified theories, often preceded by the words ‘might,’ ‘may have,’ ‘probably,’ ‘almost certainly,’ ‘must have,’ etc. For instance: The sonnets’ fair youth, dark lady and rival poet were, respectively, Henry Wriothesley, Earl of Southampton; Emilia Bassano, daughter of a court musician; and Christopher Marlowe, with whom Shakespeare may have had a physical relationship. Also: The glover’s son from Stratford was a poacher, father of dramatist William Davenant and, perhaps most intriguingly, lame. (The possible causes of his limp occupy nearly an entire chapter.) Alongside these speculative conclusions, Weis provides engaging historical commentary on the period.
A sure-to-be controversial bio-historical feast: Shakespeareans will devour it.Pub Date: Nov. 1, 2007
ISBN: 978-0-8050-7501-4
Page Count: 416
Publisher: John Macrae/Henry Holt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 2007
BOOK REVIEW
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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