by David Kamp ‧ RELEASE DATE: May 12, 2020
An appreciative and informative chapter of TV history.
A cultural history of how children’s TV, once criticized for banal programming, changed dramatically in the 1960s.
In 1961, the chairman of the FCC asked, “Is there no room on television to teach, to inform, to uplift, to stretch, to enlarge the capacities of our children?” It was a question that Joan Ganz Cooney and Fred Rogers answered with a resounding yes. Each found jobs in newly established educational-TV stations, and, with determination and imagination, developed groundbreaking children’s shows: Mister Rogers’ Neighborhood, which made its national debut in February 1968; and Sesame Street, which debuted in November 1969, attracting an audience of some 2 million households. Drawing on news articles, oral histories, and the archives of the Children’s Television Workshop, Fred Rogers Center, and Jim Henson Company, longtime Vanity Fair contributor Kamp offers a brisk, lively account of the challenges faced by Cooney and Rogers in realizing their shows, the criticism that they incited, and the many programs that emulated their success, such as The Electric Company, Free to Be…You and Me, and ZOOM. Although different in tone—“slow pace versus fast, small cast versus large, low production values versus high”—both Mister Rogers and Sesame Street were shaped by findings in developmental psychology and pedagogy. Rogers saw himself as “the child’s adult friend” who “would introduce experiences of all kinds” and help children to articulate their feelings. Cooney and her Sesame Street team aimed to engage young children—especially those living in the inner city—in learning, with a multicultural, interracial cast. Getting Jim Henson on board “was a coup,” Kamp acknowledges. “The Muppets conferred upon the nascent show a visual and spiritual identity that would set it apart from other children’s programming: “furrier, featherier, weirder, cleverer.” Writing about the evolution of Sesame Street, the author reports some surprising blowback from feminists who objected to its portrayal of women and from viewers who complained “of both racism and reverse racism.” But nothing stopped the show’s impact on children’s culture. Questlove provides the foreword.
An appreciative and informative chapter of TV history.Pub Date: May 12, 2020
ISBN: 978-1-5011-3780-8
Page Count: 288
Publisher: Simon & Schuster
Review Posted Online: Jan. 26, 2020
Kirkus Reviews Issue: Feb. 15, 2020
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by Elie Wiesel & translated by Marion Wiesel ‧ RELEASE DATE: Jan. 16, 2006
The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the...
Elie Wiesel spent his early years in a small Transylvanian town as one of four children.
He was the only one of the family to survive what Francois Maurois, in his introduction, calls the "human holocaust" of the persecution of the Jews, which began with the restrictions, the singularization of the yellow star, the enclosure within the ghetto, and went on to the mass deportations to the ovens of Auschwitz and Buchenwald. There are unforgettable and horrifying scenes here in this spare and sombre memoir of this experience of the hanging of a child, of his first farewell with his father who leaves him an inheritance of a knife and a spoon, and of his last goodbye at Buchenwald his father's corpse is already cold let alone the long months of survival under unconscionable conditions.
Pub Date: Jan. 16, 2006
ISBN: 0374500010
Page Count: 120
Publisher: Hill & Wang
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: Jan. 15, 2006
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by Elie Wiesel ; edited by Alan Rosen
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by Elie Wiesel ; illustrated by Mark Podwal
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by Paul Kalanithi ‧ RELEASE DATE: Jan. 19, 2016
A moving meditation on mortality by a gifted writer whose dual perspectives of physician and patient provide a singular...
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A neurosurgeon with a passion for literature tragically finds his perfect subject after his diagnosis of terminal lung cancer.
Writing isn’t brain surgery, but it’s rare when someone adept at the latter is also so accomplished at the former. Searching for meaning and purpose in his life, Kalanithi pursued a doctorate in literature and had felt certain that he wouldn’t enter the field of medicine, in which his father and other members of his family excelled. “But I couldn’t let go of the question,” he writes, after realizing that his goals “didn’t quite fit in an English department.” “Where did biology, morality, literature and philosophy intersect?” So he decided to set aside his doctoral dissertation and belatedly prepare for medical school, which “would allow me a chance to find answers that are not in books, to find a different sort of sublime, to forge relationships with the suffering, and to keep following the question of what makes human life meaningful, even in the face of death and decay.” The author’s empathy undoubtedly made him an exceptional doctor, and the precision of his prose—as well as the moral purpose underscoring it—suggests that he could have written a good book on any subject he chose. Part of what makes this book so essential is the fact that it was written under a death sentence following the diagnosis that upended his life, just as he was preparing to end his residency and attract offers at the top of his profession. Kalanithi learned he might have 10 years to live or perhaps five. Should he return to neurosurgery (he could and did), or should he write (he also did)? Should he and his wife have a baby? They did, eight months before he died, which was less than two years after the original diagnosis. “The fact of death is unsettling,” he understates. “Yet there is no other way to live.”
A moving meditation on mortality by a gifted writer whose dual perspectives of physician and patient provide a singular clarity.Pub Date: Jan. 19, 2016
ISBN: 978-0-8129-8840-6
Page Count: 248
Publisher: Random House
Review Posted Online: Sept. 29, 2015
Kirkus Reviews Issue: Oct. 15, 2015
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