All bark and no bite. (line drawings)
Coren (Why We Love the Dogs We Do, 1998, etc.) argues, with no discernible irony, that events and people as disparate as Waterloo and Richard Wagner would have been very different without the influence of dogs. When Napoleon was escaping from Elba, he fell into the water, a dog jumped in and began the rescue effort, and the diminutive Corsican survived to meet his Waterloo. Just think . . . if he had only drowned that day! That is the level of analysis in this truly dreadful example of what-if? history. If the author had adopted a lighter tone and confined himself to amusing stories, odd coincidences, and the little-known obsessions for dogs held by some of history’s more engaging figures from Cromwell to Custer, this volume might have been mildly entertaining. Instead, we get solemn pronouncements such as: “Dogs do have a way of weaving their influence through human events and subtly altering the course of history.” This is not to say there are no chewy biscuits in the bowl: Florence Nightingale may indeed have been inspired to become a nurse by the sight of an injured dog, and it is interesting to learn that Alexander Graham Bell taught a dog to say “How are you, grandmamma?” But it’s quite a stretch from there to speculate that dogs played a significant role in the development of Freud’s psychoanalytic theories.
All bark and no bite. (line drawings)Pub Date: April 1, 2001
ISBN: 0-7432-2228-8
Page Count: 256
Publisher: Free Press
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 1, 2002
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
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
BOOK REVIEW
BOOK REVIEW
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