A fascinating journey led by a passionate guide.
Emotionally wrenching music from northwestern Greece evokes questions about the meaning of music itself.
King, a Grammy-winning producer, describes himself as an “obsessed” collector of 78 rpm phonograph records, counting among his treasures American folk music and Delta blues recorded in the 1920s and ’30s. In his exuberant literary debut, he recounts his discovery of music far different from any that he had heard before, music so intense and transformative that it set him on a quest to find its cultural roots and to decipher “a larger enigma: why we make music.” In 2009, the author was vacationing in Istanbul when he noticed a dusty collection of records on a shop shelf. Buying a few, he carefully transported the fragile discs home and, with great anticipation, played them. The sound, he writes, was startling: “a dissonant instrumental played with an uncontrolled abandon”; a clarinet “sounded as if it were in the throes of death—bent, contorted, and skirting along the margins of control.” The music came from Epirus, a remote region in northwestern Greece that had “steadfastly resisted assimilation” for thousands of years. After acquiring hundreds more records, King made several trips to the mountain villages of Epirus to investigate the “musical biosphere” from which the viscerally shattering sounds emerged. He locates one origin of the music in “laments and funeral dirges,” which evolved from metrical poetry into instrumental pieces: “a calculated wailing through an instrument such as the clarinet or the violin” that represented “collective remembrance” rather than the commemoration of one individual. In Epirus’ sheepherding villages, the shepherd’s flute, he believes, was the foundation of all the music that ensued. Participating in festivals, learning traditional dances, drinking the “psychotropic grape distillate” tsipouro, interviewing musicians, collectors, and scholars, King concludes that the “preeminent purpose” of music in Epirus was “therapeutic and curative to the individual and the village.” Music, he writes, “was a tool for survival.”
A fascinating journey led by a passionate guide.Pub Date: May 29, 2018
ISBN: 978-0-393-24899-9
Page Count: 304
Publisher: Norton
Review Posted Online: Feb. 19, 2018
Kirkus Reviews Issue: March 1, 2018
Sedaris’s sense of life’s absurdity is on full, fine display, as is his emotional body armor. Fortunately, he has plenty of...
Known for his self-deprecating wit and the harmlessly eccentric antics of his family, Sedaris (Me Talk Pretty One Day, 2000, etc.) can also pinch until it hurts in this collection of autobiographical vignettes.
Once again we are treated to the author’s gift for deadpan humor, especially when poking fun at his family and neighbors. He draws some of the material from his youth, like the portrait of the folks across the street who didn’t own a TV (“What must it be like to be so ignorant and alone?” he wonders) and went trick-or-treating on November first. Or the story of the time his mother, after a fifth snow day in a row, chucked all the Sedaris kids out the door and locked it. To get back in, the older kids devised a plan wherein the youngest, affection-hungry Tiffany, would be hit by a car: “Her eagerness to please is absolute and naked. When we ask her to lie in the middle of the street, her only question was ‘Where?’ ” Some of the tales cover more recent incidents, such as his sister’s retrieval of a turkey from a garbage can; when Sedaris beards her about it, she responds, “Listen to you. If it didn’t come from Balducci’s, if it wasn’t raised on polenta and wild baby acorns, it has to be dangerous.” But family members’ square-peggedness is more than a little pathetic, and the fact that they are fodder for his stories doesn’t sit easy with Sedaris. He’ll quip, “Your life, your privacy, your occasional sorrow—it’s not like you're going to do anything with it,” as guilt pokes its nose around the corner of the page. Then he’ll hitch himself up and lacerate them once again, but not without affection even when the sting is strongest. Besides, his favorite target is himself: his obsessive-compulsiveness and his own membership in this company of oddfellows.
Sedaris’s sense of life’s absurdity is on full, fine display, as is his emotional body armor. Fortunately, he has plenty of both.Pub Date: June 1, 2004
ISBN: 0-316-14346-4
Page Count: 288
Publisher: Little, Brown
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 15, 2004
Possibly inspired by the letters Cleary has received as a children's author, this begins with second-grader Leigh Botts' misspelled fan letter to Mr. Henshaw, whose fictitious book itself derives from the old take-off title Forty Ways W. Amuse a Dog. Soon Leigh is in sixth grade and bombarding his still-favorite author with a list of questions to be answered and returned by "next Friday," the day his author report is due. Leigh is disgruntled when Mr. Henshaw's answer comes late, and accompanied by a set of questions for Leigh to answer. He threatens not to, but as "Mom keeps nagging me about your dumb old questions" he finally gets the job done—and through his answers Mr. Henshaw and readers learn that Leigh considers himself "the mediumest boy in school," that his parents have split up, and that he dreams of his truck-driver dad driving him to school "hauling a forty-foot reefer, which would make his outfit add up to eighteen wheels altogether. . . . I guess I wouldn't seem so medium then." Soon Mr. Henshaw recommends keeping a diary (at least partly to get Leigh off his own back) and so the real letters to Mr. Henshaw taper off, with "pretend," unmailed letters (the diary) taking over. . . until Leigh can write "I don't have to pretend to write to Mr. Henshaw anymore. I have learned to say what I think on a piece of paper." Meanwhile Mr. Henshaw offers writing tips, and Leigh, struggling with a story for a school contest, concludes "I think you're right. Maybe I am not ready to write a story." Instead he writes a "true story" about a truck haul with his father in Leigh's real past, and this wins praise from "a real live author" Leigh meets through the school program. Mr. Henshaw has also advised that "a character in a story should solve a problem or change in some way," a standard juvenile-fiction dictum which Cleary herself applies modestly by having Leigh solve his disappearing lunch problem with a burglar-alarmed lunch box—and, more seriously, come to recognize and accept that his father can't be counted on. All of this, in Leigh's simple words, is capably and unobtrusively structured as well as valid and realistic. From the writing tips to the divorced-kid blues, however, it tends to substitute prevailing wisdom for the little jolts of recognition that made the Ramona books so rewarding.
Pub Date: Aug. 22, 1983
ISBN: 143511096X
Page Count: 133
Publisher: Morrow/HarperCollins
Review Posted Online: Oct. 16, 2011
Kirkus Reviews Issue: Aug. 1, 1983
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