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THE EIFFEL TOWER AND OTHER MYTHOLOGIES

Another crop of "mythologies"—structuralist patterns inside daffy life—from Barthes, pieces that are as close as he ever comes to occasional writing. He considers the Eiffel Tower and finds it "an object which one sees, a glance which is seen; it is a complete verb, both active and passive. . . more the crystallizer than the true object." Anywhere you look in Paris there it is; yet, from its top, "it gives us the world to be read. . . it separates and groups"—and thus, since all panorama is "intellectualist," every visitor is made a structuralist. All well enough and true, but it's Barthes' problem (along with that of translator Howard, who tortures Barthes' jargon into "oneiric," "rugosity," "utensility") that we sense him always lounging fiercely upon the Procrustean bed. Even when he's making simple sense—describing how a flood "reconstructs" our perceptions of topology or how the bourgeoisie (whipping-boys throughout) believe "anything which risks substituting an explanation for a retort to be null and void"—the combative, often snide mentalism of his stance, plus the laboring of the obvious (he discovers that Billy-Graham religion is anti-intellectual), so insistently waffles that it begins to seem merely a trick; the abstract shapes of Barthes' innate structures definitely kneel down to ordinary life—and that's off-putting. Minor, dated work to begin with (some go back 20 years), these pieces make even less of an impact as an export.

Pub Date: Sept. 21, 1979

ISBN: 0520209826

Page Count: 164

Publisher: Hill and Wang/Farrar, Straus and Giroux

Review Posted Online: Oct. 10, 2011

Kirkus Reviews Issue: Sept. 1, 1979

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DYLAN GOES ELECTRIC!

NEWPORT, SEEGER, DYLAN, AND THE NIGHT THAT SPLIT THE SIXTIES

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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NUTCRACKER

This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)

Pub Date: Oct. 28, 1996

ISBN: 0-15-100227-4

Page Count: 136

Publisher: Harcourt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 1996

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