It’s hard to imagine a more astute, more graceful guide to a remarkably creative period.

DANCING IN THE DARK

A CULTURAL HISTORY OF THE GREAT DEPRESSION

Just in time for our own era’s economic collapse, a literary critic looks back at the unusually rich art of the 1930s.

In this scholarly yet immensely readable study, Dickstein (English/CUNY; A Mirror in the Roadway: Literature in the Real World, 2005, etc.) examines how the artistic culture of the ’30s served a dual function. It helped people understand and cope with the terrible economic climate, and it allowed them to escape, for a while at least, the burden of dark times. The books, music, photos, movies, plays and dances of the period both reflected and influenced the decade’s unique state of mind. These wide-ranging works of art include the novels of John Steinbeck, Zora Neale Hurston, Richard Wright and Henry Roth, and the photographs of Margaret Bourke-White and Walker Evans, which turned an unprecedented spotlight on America’s poor and disenfranchised. Artists like Nathanael West, James T. Farrell, John Dos Passos and F. Scott Fitzgerald “emphasize[d] the limitations and distortions of the American Dream,” even as Cagney’s gangster films and Busby Berkeley’s backstage musicals reinvented rags-to-riches fantasies. At a time when audiences made room simultaneously for social relevance and artistic escape, singers as disparate as Bing Crosby and Woody Guthrie had a place. The big bands of Ellington and Goodman, the romantic comedies of Hawks and Capra, the dancing of Astaire and Rogers and the music of Porter and Gershwin all supplied a touch of class for the masses. Whether discussing Citizen Kane or Porgy and Bess, the poetry of Langston Hughes, William Carlos Williams or Robert Frost, Faulkner’s unique achievement and odd relation to the period, the films of Cary Grant or the elegance and energy of Art Deco, Dickstein always has something smart and lively to say. His scintillating commentary illuminates an important dimension of a decade too often considered only in political or economic terms.

It’s hard to imagine a more astute, more graceful guide to a remarkably creative period.

Pub Date: Sept. 14, 2009

ISBN: 978-0-393-07225-9

Page Count: 576

Publisher: Norton

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: July 1, 2009

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The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the...

NIGHT

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. 

The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the sphere of suffering shared, and in this case extended to the death march itself, there is no spiritual or emotional legacy here to offset any reader reluctance.

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

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Buffs of the Old West will enjoy Clavin’s careful research and vivid writing.

TOMBSTONE

THE EARP BROTHERS, DOC HOLLIDAY, AND THE VENDETTA RIDE FROM HELL

Rootin’-tootin’ history of the dry-gulchers, horn-swogglers, and outright killers who populated the Wild West’s wildest city in the late 19th century.

The stories of Wyatt Earp and company, the shootout at the O.K. Corral, and Geronimo and the Apache Wars are all well known. Clavin, who has written books on Dodge City and Wild Bill Hickok, delivers a solid narrative that usefully links significant events—making allies of white enemies, for instance, in facing down the Apache threat, rustling from Mexico, and other ethnically charged circumstances. The author is a touch revisionist, in the modern fashion, in noting that the Earps and Clantons weren’t as bloodthirsty as popular culture has made them out to be. For example, Wyatt and Bat Masterson “took the ‘peace’ in peace officer literally and knew that the way to tame the notorious town was not to outkill the bad guys but to intimidate them, sometimes with the help of a gun barrel to the skull.” Indeed, while some of the Clantons and some of the Earps died violently, most—Wyatt, Bat, Doc Holliday—died of cancer and other ailments, if only a few of old age. Clavin complicates the story by reminding readers that the Earps weren’t really the law in Tombstone and sometimes fell on the other side of the line and that the ordinary citizens of Tombstone and other famed Western venues valued order and peace and weren’t particularly keen on gunfighters and their mischief. Still, updating the old notion that the Earp myth is the American Iliad, the author is at his best when he delineates those fraught spasms of violence. “It is never a good sign for law-abiding citizens,” he writes at one high point, “to see Johnny Ringo rush into town, both him and his horse all in a lather.” Indeed not, even if Ringo wound up killing himself and law-abiding Tombstone faded into obscurity when the silver played out.

Buffs of the Old West will enjoy Clavin’s careful research and vivid writing.

Pub Date: April 21, 2020

ISBN: 978-1-250-21458-4

Page Count: 400

Publisher: St. Martin's

Review Posted Online: Jan. 20, 2020

Kirkus Reviews Issue: Feb. 15, 2020

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