Further entertaining testimony from a music journalist whose writing pulsates with the same blues rhythms as the soil and...
Five decades of writing from one of the foremost chroniclers of the blues and other Southern music.
Memphis-based music journalist Booth (Keith: Standing in the Shadows, 1996, etc.) has been immersed in jazz, blues, rock, and other genres since he was a child. The blues, in particular, reverberate throughout Booth’s writing, underscoring the inseparability of his life and body of work. “I never intended to have anything to do with the blues,” he writes. “They came into my life through my bedroom window when I was a child. It wasn’t a matter of choice. What I learned I paid for in experience at the school where they arrest you first and tell you why later.” In this new anthology, the author offers a slew of highly personal dispatches that reflect much of the best of his writing. Plunging in with a humorous—somewhat salty—indictment of contemporary music journalism, so-called authorities on American musical traditions, and the slick treatment of the blues by modern media, Booth stakes his ground, imparting the value of essence over image in music writing. Including recent essays on Ma Rainey and Blind Willie McTell and winding through reprints of his now-iconic pieces “Furry’s Blues” and “Situation Report: Elvis in Memphis, 1967,” the volume features 29 articles of varying lengths in no stated order, spanning his career. Rather than the customary date and associated publication notes, Booth offers a brief contextual paragraph with personal asides for each piece. For instance, in a screenplay excerpt titled “Mr. Crump Don’t Like It: If Beale Street Could Talk,” he notes that he “stole” the idea for writing a three-arc plot from William S. Burroughs’ The Last Words of Dutch Schultz. Other topics include Graceland, Memphis soul, Mose Allison, and James Brown.
Further entertaining testimony from a music journalist whose writing pulsates with the same blues rhythms as the soil and streets in which they were born.Pub Date: May 7, 2019
ISBN: 978-1-64160-106-1
Page Count: 400
Publisher: Chicago Review Press
Review Posted Online: March 2, 2019
Kirkus Reviews Issue: March 15, 2019
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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