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ON CELESTIAL MUSIC

AND OTHER ADVENTURES IN LISTENING

Thoughtful, heartfelt and frequently moving, like the best music.

The acclaimed novelist shows off his considerable gifts for parsing music.

Moody (The Four Fingers of Death, 2010, etc.) is also a musician of semipro status, with a couple of albums by his group, the Wingdale Community Singers, and a solo set under his belt. This collection of his writing about music for various journals is characterized by passion, inspired insight and a generous sampling of warm humor. The essays cover an astonishing amount of genre ground. Moody’s catholic tastes run the gamut from rock to left-field experimental sounds, and he’s a sensitive listener who almost always connects with the heart of the matter. He tackles the challenges of writing about the most fundamental of human emotions as he carves a playlist out of the Magnetic Fields’ "69 Love Songs"; explores the expression of spirituality in the work of the evangelistic rock group the Danielson Famile; ponders what music in heaven might sound like in the title story, which springs off a live recording by Otis Redding; muses on the affect of the Pogues’ music, viewed through the prism of lead singer Shane McGowan’s alcoholism; and excoriates the soullessness of modern European pop in a tart and frequently hilarious jeremiad about the drum machine. Some chapters are less satisfying: Moody’s account of two weeks at a New York music camp is essentially a journal entry, while a survey of the fin de siècle New York underground reads like exactly what it is: a chapter from an as-yet-unpublished textbook. But most of the writing is acute and intensely wrought. It’s often highly personal stuff—Moody weaves his parents’ divorce, his struggles with alcohol and his performance experiences into the mix—but it never succumbs to the solipsism so prevalent in much latter-day rock criticism. For Moody, music is most of all about rapture, and he communicates his feelings with an ardor and intelligence all too rare in these waning days of music criticism.

Thoughtful, heartfelt and frequently moving, like the best music.

Pub Date: March 21, 2012

ISBN: 978-0-316-10521-7

Page Count: 384

Publisher: Back Bay/Little, Brown

Review Posted Online: Jan. 23, 2012

Kirkus Reviews Issue: Feb. 1, 2012

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THE ELEMENTS OF STYLE

50TH ANNIVERSARY EDITION

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

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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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