Not just an exemplary biography, but a significant contribution to the cultural history of American music.
A Bancroft and Pulitzer Prize winner takes on one of the most influential composers of the 20th century.
John Cage (1912–1992) redefined what music could be by expanding nearly every element of the art. Silverman (Lightning Man: The Accursed Life of Samuel F.B. Morse, 2003, etc.) traces his innovations chronologically—his breakthrough years as a composer of experimental dance and percussion music, his definitive decade inventing chance-derived music as a member of the New York School of artists and musicians in the ’50s, and his later development of indeterminate music, the content of which could be created by the performer. Cage’s originality and his subsequent influence spread far beyond music into the visual arts and poetry, playing a central role in the creation of the Fluxus movement as well as the Language school of poetry. Silverman’s prose gracefully captures the seamlessness of Cage’s effect on 20th-century creative art, and he provides a careful, but not uncritical, exploration of the composer’s personal relationships, many of which involved men and women who would become monumental artists, scientists and thinkers. The author also explores other parts of Cage's life, including his interest in chess, which he learned to play from Marcel Duchamp, and his work as a mycologist. Silverman also provides a much-needed corrective to a generation of artists and musicians who have idolized, even mythologized Cage, yet grossly misunderstand or remain ignorant of what Cage actually accomplished as a composer. As someone who experimented quite dramatically with musical notation, instrumentation and the very nature of what sound could be—think of his famous “silent” piece, 4’33”—Cage occasionally mystified the very music he sought to simplify. Yet Silverman's artful narrative lays bare Cage’s compositional processes, aesthetic posturing and the cross-cultural philosophical underpinnings to his work with a clarity that musicologists and art historians have yet to achieve.
Not just an exemplary biography, but a significant contribution to the cultural history of American music.Pub Date: Oct. 23, 2010
ISBN: 978-1-4000-4437-5
Page Count: 480
Publisher: Knopf
Review Posted Online: Aug. 17, 2010
Kirkus Reviews Issue: Sept. 1, 2010
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
A moving meditation on mortality by a gifted writer whose dual perspectives of physician and patient provide a singular...
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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