A compelling read, swamped in the end by the new wave of ’80s rock.
The history of postpunk rock gets a microscopic examination by a keen-eyed English observer.
British critic Reynolds, who picked apart the development of house music, techno and the U.K. rave scene in Generation Ecstasy (1998), applies his methodology to the multitude of styles and sounds collectively known as “postpunk.” The rubric is somewhat misleading, since several of the significant bands Reynolds writes about—Pere Ubu, Devo, Talking Heads—either predated or worked concurrently with the punk explosion of the mid- and late-’70s. But Reynolds’s concern is not with chronology but with sensibility—the first half of his book addresses revolutionary bands whose art school–derived musical eclecticism ran contrary to the orthodoxy of conventional punk. He compellingly explores the breakaway sounds and styles of acts as diverse as Public Image Ltd. (the postpunk unit fronted by the Sex Pistols’ John Lydon), Gang of Four, Joy Division and the Pop Group. His smart, densely researched accounts of these bands and their scenes are sometimes marred by a weakness for artists whose intellectual rigor outweighed their musical worth. Sadly, this work is really two books in one, and Reynolds utterly loses his thread, and his head, when he abandons the more challenging postpunk sounds of the era to address the style-driven rise of new pop and synth-pop. Wearing his national chauvinism on his sleeve, he makes a slim connection between the pathfinding efforts of postpunk visionaries and the selling-out/buying-in ethos of such commercial acts as Gary Numan, the Human League and ABC, many of whom benefited from the early-’80s explosion of MTV. The latter half of Reynolds’s book suffers from a lack of focus, excessive Anglophilia and the strain of justifying the ascent of some decidedly lesser talents. Readers who savor the first 200 pages will likely continue patiently through its wearying finale.
A compelling read, swamped in the end by the new wave of ’80s rock.Pub Date: March 1, 2006
ISBN: 0-14-303672-6
Page Count: 432
Publisher: Penguin
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 15, 2006
From the national correspondent for PBS's MacNeil-Lehrer Newshour: a moving memoir of her youth in the Deep South and her role in desegregating the Univ. of Georgia. The eldest daughter of an army chaplain, Hunter-Gault was born in what she calls the ``first of many places that I would call `my place' ''—the small village of Due West, tucked away in a remote little corner of South Carolina. While her father served in Korea, Hunter-Gault and her mother moved first to Covington, Georgia, and then to Atlanta. In ``L.A.'' (lovely Atlanta), surrounded by her loving family and a close-knit black community, the author enjoyed a happy childhood participating in activities at church and at school, where her intellectual and leadership abilities soon were noticed by both faculty and peers. In high school, Hunter-Gault found herself studying the ``comic-strip character Brenda Starr as I might have studied a journalism textbook, had there been one.'' Determined to be a journalist, she applied to several colleges—all outside of Georgia, for ``to discourage the possibility that a black student would even think of applying to one of those white schools, the state provided money for black students'' to study out of state. Accepted at Michigan's Wayne State, the author was encouraged by local civil-rights leaders to apply, along with another classmate, to the Univ. of Georgia as well. Her application became a test of changing racial attitudes, as well as of the growing strength of the civil-rights movement in the South, and Gault became a national figure as she braved an onslaught of hostilities and harassment to become the first black woman to attend the university. A remarkably generous, fair-minded account of overcoming some of the biggest, and most intractable, obstacles ever deployed by southern racists. (Photographs—not seen.)
Pub Date: Nov. 1, 1992
ISBN: 0-374-17563-2
Page Count: 192
Publisher: Farrar, Straus and Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 1992
Necessarily swift and adumbrative as well as inclusive, focused, and graceful.
A light-speed tour of (mostly) Western poetry, from the 4,000-year-old Gilgamesh to the work of Australian poet Les Murray, who died in 2019.
In the latest entry in the publisher’s Little Histories series, Carey, an emeritus professor at Oxford whose books include What Good Are the Arts? and The Unexpected Professor: An Oxford Life in Books, offers a quick definition of poetry—“relates to language as music relates to noise. It is language made special”—before diving in to poetry’s vast history. In most chapters, the author deals with only a few writers, but as the narrative progresses, he finds himself forced to deal with far more than a handful. In his chapter on 20th-century political poets, for example, he talks about 14 writers in seven pages. Carey displays a determination to inform us about who the best poets were—and what their best poems were. The word “greatest” appears continually; Chaucer was “the greatest medieval English poet,” and Langston Hughes was “the greatest male poet” of the Harlem Renaissance. For readers who need a refresher—or suggestions for the nightstand—Carey provides the best-known names and the most celebrated poems, including Paradise Lost (about which the author has written extensively), “Kubla Khan,” “Ozymandias,” “The Charge of the Light Brigade,” Wordsworth and Coleridge’s Lyrical Ballads, which “changed the course of English poetry.” Carey explains some poetic technique (Hopkins’ “sprung rhythm”) and pauses occasionally to provide autobiographical tidbits—e.g., John Masefield, who wrote the famous “Sea Fever,” “hated the sea.” We learn, as well, about the sexuality of some poets (Auden was bisexual), and, especially later on, Carey discusses the demons that drove some of them, Robert Lowell and Sylvia Plath among them. Refreshingly, he includes many women in the volume—all the way back to Sappho—and has especially kind words for Marianne Moore and Elizabeth Bishop, who share a chapter.
Necessarily swift and adumbrative as well as inclusive, focused, and graceful.Pub Date: April 21, 2020
ISBN: 978-0-300-23222-6
Page Count: 304
Publisher: Yale Univ.
Review Posted Online: Feb. 8, 2020
Kirkus Reviews Issue: March 1, 2020
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