An Italian scholar’s unorthodox take on the events leading to Pushkin’s fatal duel reads like impassioned fiction. On January 27, 1837, one of Russia’s greatest poets, Alexander Pushkin, died as the result of a wound inflicted during a duel he—d fought to defend his wife’s honor. His opponent was none other than his sister-in-law’s husband, Georges d’Anthes, a French officer. Readers will recognize telltale signs in Vitale’s (Russian/Univ. of Pavia, Italy) narrative of the typically massive Russian novel: the cast of thousands (here enumerated in a 24-page “Index of Names”) and the story’s soap-opera-like overtones. Combining her own research with information gleaned from secondary literature and the memoirs and letters of Pushkin’s contemporaries, this account brims with humor, drama, scholarly insight, and a breathless conversational tone, hinting of espresso and cigarette smoke wafting in a cafe corner. Vitale’s approach, however, is not for everyone. The duel occurs some 242 pages into the text. Chapter titles, like the title of the book, are more poetic than informative. And the facts are often conveyed repetitiously. Still, the drawbacks seem finally beside the point, for Vitale brings to life the drama of Pushkin’s end, from the state of the poet “whose frenzied jealousy was known to all,” to the doings of his flirtatious wife and the royal court, Pushkin’s strained relations with the tsar, and the bizarre case of d’Anthes’s adoption by a Dutch ambassador and his affairs with the women of St. Petersburg. Also, the author eagerly takes up her role as detective, investigating d’Anthes’s circumstances, his opinion of Pushkin’s wife, and the circulated letter that provoked the duel. With its unabashed love of intrigue and nuance, Vitale’s unusual chronicle of Pushkin’s final days will appeal to any lover of Russian literature, history, and culture.
Pub Date: Feb. 1, 1999
ISBN: 0-374-23935-5
Page Count: 352
Publisher: Farrar, Straus and Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 15, 1998
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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