by Eli Jaxon-Bear ‧ RELEASE DATE: April 2, 2018
An intriguing and candid memoir that should appeal to readers interested in ’60s movements.
A spiritual instructor and author chronicles his journey from student and community organizer to lawbreaker and organic farmer in this autobiography.
Born Elliot Zeldow, Jaxon-Bear (Wake Up and Roar, 2017, etc.) grew up in Brooklyn and Queens, alternating between urban, mixed-ethnic schools and more exclusive ones with upwardly mobile Jews. He was a tough kid with street smarts who attended the University of Pittsburgh (in “a backwater steel town with a mediocre college”), where he was involved with the debate team. As a student, he traveled to Alabama to participate in civil rights marches, beginning a long involvement with social issues that continued intermittently after his graduation. Following brief stints as a steelworker, professional activist, and Ph.D. candidate—along with a short marriage to a Pittsburgh girl—Jaxon-Bear upped his involvement with drugs and crossed to the wrong side of the law on several occasions. Relying on his gift for gab and obfuscation, he avoided serious jail time on numerous occasions, setting off on spiritual journeys with more drugs than cash. He eventually met his life partner, Toni, and with their mystical and emotional connections—along with some fortuitous investments—the author achieved a respected position in his chosen field of spiritual development. With his discovery of Papaji (his guru, Zen master, and other “self”), Jaxon-Bear fully realized his spiritual odyssey. The author’s uninhibited, honest account of his life—with all of his flaws on full display—is refreshing. His early life emerges as surprisingly captivating, although readers may suspect his spiritual voyage is what he really wants to share. At times, his self-destructive, selfish behavior is wearing, particularly his firm belief in his youth (before he met Toni) that he should be exempt from monogamy because it did not suit him. Quotes and contemporary song lyrics before each chapter help set the scene for the subsequent narrative, but the book would have benefited from more introspection on Jaxon-Bear’s part. Too often it seems that he was just swept along with the times, without giving thought to what he was doing.
An intriguing and candid memoir that should appeal to readers interested in ’60s movements.Pub Date: April 2, 2018
ISBN: 978-0-692-59987-7
Page Count: 322
Publisher: New Morning Books
Review Posted Online: May 11, 2018
Review Program: Kirkus Indie
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by Elijah Wald ‧ RELEASE DATE: July 25, 2015
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
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by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996
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
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