A novelist's autobiography shows that truth is not always as much fun as fiction. Rita Mae Brown—one of the first openly gay celebrities in America, as well as one of the founders of the Second Wave women's movement—has had a life worth writing. She has produced numerous popular novels and screenplays, and had lovers as famous and difficult as herself—Martina Navratilova, Fannie Flagg, and Judy Nelson. Given away at birth by her teenage mother, she was raised by relatives; her adoptive mother was the ``Juts'' made famous in Brown's novels. Juts comes alive in this memoir, too, as does her impossible sister, Aunt Mimi. The book offers a touching evocation of a southern tomboy's childhood, as well as unsparing descriptions of early feminism and of the peculiar burdens of gay celebrity. Rita Will has witty and absorbing moments, but much of it is morally and politically preachy: She's against secrecy, homophobia, big government, sexism, and racism. Readers won't be especially surprised by these positions, and most would probably rather hear about her life. The narrative is interrupted constantly by her gushing gratitude to people who have helped her out in times of need. And as we might expect from a writer who has coauthored numerous titles with her cat, Brown packs her memoir with sentimentality about the animals in her life. This volume would be better if it were much shorter; it's dangerous when egoists write memoirs. They assume that every experience is interesting, simply because it's theirs. Worth reading, especially for Brown's numerous fans. But for the better-than-truth version, and to spend time with someone more likable than the real Brown, go back to Rubyfruit Jungle, the only-slightly-autobiographical novel that made her famous. (Author tour)
Pub Date: Oct. 6, 1997
ISBN: 0-553-09973-6
Page Count: 496
Publisher: Bantam
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1997
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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