As always, Kaminer urges people to think, to get to the nub (she says of Timothy McVeigh’s closed-circuit TV execution:...
Kaminer (Sleeping with Extra-Terrestrials, 1999, etc.) makes a strong case for the vibrant protection of constitutional liberties, particularly when perceptions of fear have gripped the citizenry.
“People have a right to their stupidities,” jibes Kaminer as she goes about biting the ankles of those eager to curtail the expression of those stupidities as well as the right of dissent and holding unpopular opinions, our moral right to have moral preferences. In this collection of some four dozen pieces, mostly from the pages of the American Prospect, Kaminer explains her mistrust of government—the reins of power—as essential to maintaining the liberties guaranteed by the Bill of Rights. She is wary when asked by politicians to curtail the rights of others, especially at times of national unease, as in the wake of the World Trade Center attacks. She suggests that we should always ask ourselves why we are assenting to the enhancement of power in individual hands—say, executive power, or, worse yet, committee—at the expense of constitutional rights to all. How will this devolution of responsibility play out in the long run? “Censorship campaigns often begin with a drive to protect children (or women), but they rarely end there,” she says of the movement to curb popular entertainments. She sticks close to our civil liberties and rights, striving for a sense of balance (“For freedom’s sake, we all have to tolerate being vilified, embarrassed, or harassed, but freedom will survive if we acknowledge a right not to be terrorized”) in often tricky terrain like virtual child pornography or the legal difference between the advocacy of unpopular ideas or acts and the incitement of them.
As always, Kaminer urges people to think, to get to the nub (she says of Timothy McVeigh’s closed-circuit TV execution: “Public viewing of executions is less important than public scrutiny of capital cases”), to refuse to be treated like children by a government of power seekers.Pub Date: Sept. 20, 2002
ISBN: 0-8070-4411-3
Page Count: 236
Publisher: Beacon Press
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: Aug. 1, 2002
BOOK REVIEW
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
© Copyright 2025 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
