A curious combination of fiction and criticism celebrating primarily the great jazz musicians of the '50s. Dyer, a British novelist and critic, calls his method ``imaginative criticism,'' in that he creates dialogue and situations loosely based on oral histories. Inspired by a series of famous photographs (which, oddly, are not reproduced here), this is a rogue's gallery of jazzmen, from the last, alcohol-drenched days of famed tenor saxophonist Lester Young through the delusion-filled life of pianist Bud Powell and the elephantine anger and musical passions of bassist/composer Charles Mingus, to name a few. Dyer has a neat turn of phrase and can aptly sum up a musician's style in prose (Thelonious Monk's piano playing is described as ``dripping [notes] like booze from a spilled glass, the tune falling to the floor in puddles''). However, because the reader has no idea where fact ends and fiction begins, these essays are more frustrating than illuminating. And because much of the material Dyer draws on is easily available in the jazz literature, one would be better served by referring to the original material rather than relying on his high flights of fancy. As a means of linking the vignettes, Dyer has created a story of Duke Ellington and his devoted driver as they travel from one gig to another; these little snippets don't add up to much. To appease those critics who will be repelled by his fact/fictional stories, he has added a short essay on jazz, very much soaked in the latest jargon. Here, he gets to pound home the points he made more subtly in the fictional sections, even as he argues that jazz is the one art form that transcends criticism. A false note in the history of jazz criticism.
Pub Date: Jan. 1, 1996
ISBN: 0-865-47490-7
Page Count: 205
Publisher: North Point/Farrar, Straus and Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 1, 1995
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...
Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").Pub Date: May 15, 1972
ISBN: 0205632645
Page Count: 105
Publisher: Macmillan
Review Posted Online: Oct. 28, 2011
Kirkus Reviews Issue: May 1, 1972
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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