A witty and absorbing demonstration of the interplay of minority and mainstream—with the minority culture here being of...
Take my wife…please! Nahshon (Theater/Jewish Theological Seminary) charts a transformative artistic lineage from the shtetl to Broadway, the Borscht Belt, and beyond.
This companion volume to a new exhibit at the Museum of the City of New York introduces figures who deserve a broader place in American cultural history but who in many cases are all but unknown: Jacob Adler, for one, who commanded the Jewish theatrical stage from its years on the Bowery to the Jazz Age and who, had things turned out differently, might have introduced Tevye to the Broadway crowd a couple of generations before Theodore Bikel did. Sholem Aleichem didn’t have the hit he hoped for because, the author suggests, Jewish audiences in early-20th-century New York wanted something else: they were in a new world, after all, and “had left behind the world Sholem Aleichem stood for.” By such means does art evolve. Nahshon traces the origins of a specifically Jewish theater not to biblical antiquity, though Purim does figure in the story, but instead to a Romanian wine garden where, in 1876, a writer named Abraham Goldfaden joined forces with two folk singers for whom he “provided a skimpy storyline that offered narrative continuity to their musical numbers.” Both song and story grew more sophisticated, arriving in New York as a theater of nostalgia and sentimentality that branched in several directions, including vaudeville, from which stand-up comedy in turn evolved. Familiar names turn up, among them the likes of Rodney Dangerfield and Sophie Tucker, but mostly the text, wonderfully well-illustrated with handbills, portraits, advertisements, and the like, yields a constant discovery of new show people, such as matinee idol Boris Thomashefsky, whose name was famous not just in theatrical circles, but “was evoked just as frequently for being at the center of juicy scandals.”
A witty and absorbing demonstration of the interplay of minority and mainstream—with the minority culture here being of outsize influence over the larger culture of Broadway, Hollywood, and America.Pub Date: March 8, 2016
ISBN: 978-0-231-17670-5
Page Count: 304
Publisher: Columbia Univ.
Review Posted Online: Feb. 7, 2016
From the national correspondent for PBS's MacNeil-Lehrer Newshour: a moving memoir of her youth in the Deep South and her role in desegregating the Univ. of Georgia. The eldest daughter of an army chaplain, Hunter-Gault was born in what she calls the ``first of many places that I would call `my place' ''—the small village of Due West, tucked away in a remote little corner of South Carolina. While her father served in Korea, Hunter-Gault and her mother moved first to Covington, Georgia, and then to Atlanta. In ``L.A.'' (lovely Atlanta), surrounded by her loving family and a close-knit black community, the author enjoyed a happy childhood participating in activities at church and at school, where her intellectual and leadership abilities soon were noticed by both faculty and peers. In high school, Hunter-Gault found herself studying the ``comic-strip character Brenda Starr as I might have studied a journalism textbook, had there been one.'' Determined to be a journalist, she applied to several colleges—all outside of Georgia, for ``to discourage the possibility that a black student would even think of applying to one of those white schools, the state provided money for black students'' to study out of state. Accepted at Michigan's Wayne State, the author was encouraged by local civil-rights leaders to apply, along with another classmate, to the Univ. of Georgia as well. Her application became a test of changing racial attitudes, as well as of the growing strength of the civil-rights movement in the South, and Gault became a national figure as she braved an onslaught of hostilities and harassment to become the first black woman to attend the university. A remarkably generous, fair-minded account of overcoming some of the biggest, and most intractable, obstacles ever deployed by southern racists. (Photographs—not seen.)
Pub Date: Nov. 1, 1992
ISBN: 0-374-17563-2
Page Count: 192
Publisher: Farrar, Straus and Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 1992
Necessarily swift and adumbrative as well as inclusive, focused, and graceful.
A light-speed tour of (mostly) Western poetry, from the 4,000-year-old Gilgamesh to the work of Australian poet Les Murray, who died in 2019.
In the latest entry in the publisher’s Little Histories series, Carey, an emeritus professor at Oxford whose books include What Good Are the Arts? and The Unexpected Professor: An Oxford Life in Books, offers a quick definition of poetry—“relates to language as music relates to noise. It is language made special”—before diving in to poetry’s vast history. In most chapters, the author deals with only a few writers, but as the narrative progresses, he finds himself forced to deal with far more than a handful. In his chapter on 20th-century political poets, for example, he talks about 14 writers in seven pages. Carey displays a determination to inform us about who the best poets were—and what their best poems were. The word “greatest” appears continually; Chaucer was “the greatest medieval English poet,” and Langston Hughes was “the greatest male poet” of the Harlem Renaissance. For readers who need a refresher—or suggestions for the nightstand—Carey provides the best-known names and the most celebrated poems, including Paradise Lost (about which the author has written extensively), “Kubla Khan,” “Ozymandias,” “The Charge of the Light Brigade,” Wordsworth and Coleridge’s Lyrical Ballads, which “changed the course of English poetry.” Carey explains some poetic technique (Hopkins’ “sprung rhythm”) and pauses occasionally to provide autobiographical tidbits—e.g., John Masefield, who wrote the famous “Sea Fever,” “hated the sea.” We learn, as well, about the sexuality of some poets (Auden was bisexual), and, especially later on, Carey discusses the demons that drove some of them, Robert Lowell and Sylvia Plath among them. Refreshingly, he includes many women in the volume—all the way back to Sappho—and has especially kind words for Marianne Moore and Elizabeth Bishop, who share a chapter.
Necessarily swift and adumbrative as well as inclusive, focused, and graceful.Pub Date: April 21, 2020
ISBN: 978-0-300-23222-6
Page Count: 304
Publisher: Yale Univ.
Review Posted Online: Feb. 8, 2020
Kirkus Reviews Issue: March 1, 2020
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