Griffin (Made from this Earth, 1983; Pornography and Silence, 1981, etc.) turns her thoughtful if chronically depressed gaze to the relationship between secrecy and violence, both in the world and in personal relationships. ``I cannot be certain how far back in human history the habit of denial can be traced,'' writes Griffin. ``But it is at least as old as I am.'' Beginning, then, with the birth of modern warfare in this century, she proceeds to interweave tales of evil made possible by governmental lies and secrets with personal recollections of the toxic falsehoods maintained by her own and others' families. Griffin's point is that there is a profound connection between the monumental horrors of concentration camps in Germany, the nuclear destruction of Hiroshima and Nagasaki, the dangerous side-effects of nuclear-arms development, and the unexpected high-tech warfare of the Gulf War—all facilitated by governmental denial and suppression of the facts—and the alcoholism, suicides, depression, and shattered psyches that litter her own and others' family lives. Whether suppression of personal unpleasantness may be a reflection of, or a cause of denial in, the larger world is a fascinating question that Griffin examines only superficially. In fact, her utter despair as she recounts our modern horror stories (``I have come to believe that our shared movement toward nuclear war is a movement toward mass suicide'') eclipses any analysis beyond the vaguely psychoanalytical, and discourages the bold and persistent investigation necessary to expose the truths behind the falsehoods. Somber, elliptical, and defeatist—certainly less than such a study might have been.
Pub Date: Oct. 1, 1992
ISBN: 0-385-41857-4
Page Count: 384
Publisher: Doubleday
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 1, 1992
BOOK REVIEW
BOOK REVIEW
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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