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MAN OF THE WORLD

BOOK 1 OF THE ODYSSEY EXPEDITION

A riveting journey recounted by an irrepressible, highly likable narrator.

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A witty, resilient Liverpudlian sets out to visit every sovereign nation in the world in this travelogue.

British adventurer Hughes plans to visit every country and territory in the world. In order to satisfy Guinness World Records, he agrees to follow a few basic rules: He can’t travel by plane, nor hitchhike, nor use anything other than public transportation; he must set foot on dry land in each place; and “A visit to a far-flung territory does not count as a visit to ‘the motherland.’ ” This first installment of a planned trilogy begins on Jan. 1, 2009, on the border between Argentina and Uruguay and ends, 133 countries and 6 territories later, on Dec. 31, 2009, at the Egyptian pyramids. It covers the author’s journey through the Americas, Europe, and Africa, and it’s bursting with fascinating, hilarious, and occasionally terrifying anecdotes. While traveling across the Gulf of Mexico, he nonchalantly recounts that a yacht captain used “a fishing hook to put stitches in [his] head with no anaesthetic other than a bottle of scotch.” In the Congo, he’s inexplicably thrown into a prison cell that “was like somewhere you might wake up if you were a victim of the Jigsaw Killer” in the movie Saw. Yet the mood is almost always upbeat, and readers will succumb to Hughes’ deliciously blunt humor: “the fact that I still hadn’t suffered the squits the entire journey…only goes to prove that my DNA should be extracted and cloned in order to create the race of ginger super-soldiers that will one day RULE THE WORLD.” The book is made even more amusing by editor’s notes that occasionally translate the author’s Liverpool slang: “Helga rustled up some scouse (Liverpool stew) for me to eat and it was proper boss la….Editor’s Note: Apparently in Liverpool this means really good.” The straightforward, chronological approach leaves little time for evocative description, but it adds to the urgency as the author visits country after country. It’s also carefully illustrated with maps and information cards throughout. Readers will be eager to read the next book in this series.

A riveting journey recounted by an irrepressible, highly likable narrator.

Pub Date: Oct. 15, 2017

ISBN: 978-1-62613-081-4

Page Count: 332

Publisher: ATBOSH Media Ltd.

Review Posted Online: Feb. 19, 2018

Kirkus Reviews Issue: April 1, 2018

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DYLAN GOES ELECTRIC!

NEWPORT, SEEGER, DYLAN, AND THE NIGHT THAT SPLIT THE SIXTIES

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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NUTCRACKER

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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