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FREEDOM OF SPEECH

MIGHTIER THAN THE SWORD

Good stories, great interviews, and a potent plea on behalf of vigilant listening.

A Pulitzer Prize winner surveys the American cultural and political landscape and asks if “the freedom to hear” remains intact.

Near the end of his narrative, Shipler (Rights at Risk: The Limits of Liberty in Modern America, 2012, etc.) thanks one of his many interview subjects for her time, and she in turn thanks him for his attention: “The listener is everything in telling a story.” The remark serves as both apt praise for his alert reportorial skills and as a succinct expression of the focus of this odd-angle take on freedom of speech. The author features a wide variety of writers and speakers who inject ideas, information, disinformation, prejudice, and fear into the marketplace, but he also focuses on the marketplace itself, on those auditors who wish to hear no “evil,” no truth, nothing at all discomfiting to their own views. Shipler surveys the limits of what is legally, economically, and culturally permissible, looking, for example, at what happens when parents challenge the inclusion of controversial books in the high school curriculum; when government employees, and the reporters to whom they leak, expose classified information; when a Washington, D.C., theater stages performances about Arabs and Jews that address the historical narratives of both sides. The author explores the fallout from political speech corrupted by outright deceit and the connection between money and political expression. He discovers a pattern in “the cultural limits of bigotry” in which the innuendos of right-wing radio talkers go uncensored while the careless one-time remarks of a blue-collar worker or a small-town official become occasions for firing. Of course, no bigot identifies as one, any more than would-be censors identify as free speech opponents. Rather, they object to certain speech, citing a more important value, say, protecting children or national security or fairness. Shipler describes himself as the closest thing to an “absolutist on the First Amendment as possible without quite being one.”

Good stories, great interviews, and a potent plea on behalf of vigilant listening.

Pub Date: May 12, 2015

ISBN: 978-0-307-95732-0

Page Count: 352

Publisher: Knopf

Review Posted Online: March 4, 2015

Kirkus Reviews Issue: March 15, 2015

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A PEOPLE'S HISTORY OF THE UNITED STATES

For Howard Zinn, long-time civil rights and anti-war activist, history and ideology have a lot in common. Since he thinks that everything is in someone's interest, the historian—Zinn posits—has to figure out whose interests he or she is defining/defending/reconstructing (hence one of his previous books, The Politics of History). Zinn has no doubts about where he stands in this "people's history": "it is a history disrespectful of governments and respectful of people's movements of resistance." So what we get here, instead of the usual survey of wars, presidents, and institutions, is a survey of the usual rebellions, strikes, and protest movements. Zinn starts out by depicting the arrival of Columbus in North America from the standpoint of the Indians (which amounts to their standpoint as constructed from the observations of the Europeans); and, after easily establishing the cultural disharmony that ensued, he goes on to the importation of slaves into the colonies. Add the laborers and indentured servants that followed, plus women and later immigrants, and you have Zinn's amorphous constituency. To hear Zinn tell it, all anyone did in America at any time was to oppress or be oppressed; and so he obscures as much as his hated mainstream historical foes do—only in Zinn's case there is that absurd presumption that virtually everything that came to pass was the work of ruling-class planning: this amounts to one great indictment for conspiracy. Despite surface similarities, this is not a social history, since we get no sense of the fabric of life. Instead of negating the one-sided histories he detests, Zinn has merely reversed the image; the distortion remains.

Pub Date: Jan. 1, 1979

ISBN: 0061965588

Page Count: 772

Publisher: Harper & Row

Review Posted Online: May 26, 2012

Kirkus Reviews Issue: Jan. 1, 1979

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I KNOW WHY THE CAGED BIRD SINGS

However charily one should apply the word, a beautiful book, an unconditionally involving memoir for our time or any time.

Maya Angelou is a natural writer with an inordinate sense of life and she has written an exceptional autobiographical narrative which retrieves her first sixteen years from "the general darkness just beyond the great blinkers of childhood."

Her story is told in scenes, ineluctably moving scenes, from the time when she and her brother were sent by her fancy living parents to Stamps, Arkansas, and a grandmother who had the local Store. Displaced they were and "If growing up is painful for the Southern Black girl, being aware of her displacement is the rust on the razor that threatens the throat." But alternating with all the pain and terror (her rape at the age of eight when in St. Louis With her mother) and humiliation (a brief spell in the kitchen of a white woman who refused to remember her name) and fear (of a lynching—and the time they buried afflicted Uncle Willie under a blanket of vegetables) as well as all the unanswered and unanswerable questions, there are affirmative memories and moments: her charming brother Bailey; her own "unshakable God"; a revival meeting in a tent; her 8th grade graduation; and at the end, when she's sixteen, the birth of a baby. Times When as she says "It seemed that the peace of a day's ending was an assurance that the covenant God made with children, Negroes and the crippled was still in effect."

However charily one should apply the word, a beautiful book, an unconditionally involving memoir for our time or any time.

Pub Date: Feb. 1, 1969

ISBN: 0375507892

Page Count: 235

Publisher: Random House

Review Posted Online: May 14, 2012

Kirkus Reviews Issue: Feb. 1, 1969

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