by Stephanie Elizondo Griest ‧ RELEASE DATE: July 10, 2017
In this well-conceived book, the author demonstrates unforgettably that national borders constitute much more than lines on...
An exploration of the borderlands that deftly mixes memoir, groundbreaking sociology, deep reporting, and compelling writing.
A child of the parched Texas-Mexico border, Elizondo Griest (Mexican Enough: My Life Between the Borderlines, 2008, etc.) found herself teaching on a Mohawk Indian reservation that straddled the frigid New York state–Canadian border. At first, the author could not perceive any significant similarities between the two border experiences other than the deep roots of Catholicism. However, as the months passed, she began to realize the commonalities between borderlands shot through with poverty, cruelty by law enforcement agencies, language wars, environmental degradation, poor schools, ill health, drug smuggling, human trafficking, and extraordinarily high death tolls, including suicides. As Elizondo Griest documents the plight of border occupants, she struggles with defining herself within her mixed-race background. She has thought of herself as a mix of Tejana, Chicana, and Latina, but people outside her family usually viewed her as a gringa due to her unusually light skin and blue eyes. But as she began to understand, the borderland existence is the most defining factor of all. Portions of the author’s findings as a reporter are graphic, especially as she chronicles her travels with law enforcement officers to retrieve rotting bodies of Mexicans who died trying to cross rugged territory in Texas or Arizona to establish a life in the U.S. Perhaps the most revelatory portions of the book are the sections about the already existing wall on stretches of the U.S.–Mexico border, barriers predating the rise of Donald Trump. The chapters about the Mohawk struggles are quite likely to seem revelatory, too, given the dearth of national journalism coverage of that region.
In this well-conceived book, the author demonstrates unforgettably that national borders constitute much more than lines on a map.Pub Date: July 10, 2017
ISBN: 978-1-4696-3159-2
Page Count: 312
Publisher: Univ. of North Carolina
Review Posted Online: April 16, 2017
Kirkus Reviews Issue: May 1, 2017
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by Elijah Wald ‧ RELEASE DATE: July 25, 2015
An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s...
Music journalist and musician Wald (Talking 'Bout Your Mama: The Dozens, Snaps, and the Deep Roots of Rap, 2014, etc.) focuses on one evening in music history to explain the evolution of contemporary music, especially folk, blues, and rock.
The date of that evening is July 25, 1965, at the Newport Folk Festival, where there was an unbelievably unexpected occurrence: singer/songwriter Bob Dylan, already a living legend in his early 20s, overriding the acoustic music that made him famous in favor of electronically based music, causing reactions ranging from adoration to intense resentment among other musicians, DJs, and record buyers. Dylan has told his own stories (those stories vary because that’s Dylan’s character), and plenty of other music journalists have explored the Dylan phenomenon. What sets Wald's book apart is his laser focus on that one date. The detailed recounting of what did and did not occur on stage and in the audience that night contains contradictory evidence sorted skillfully by the author. He offers a wealth of context; in fact, his account of Dylan's stage appearance does not arrive until 250 pages in. The author cites dozens of sources, well-known and otherwise, but the key storylines, other than Dylan, involve acoustic folk music guru Pete Seeger and the rich history of the Newport festival, a history that had created expectations smashed by Dylan. Furthermore, the appearances on the pages by other musicians—e.g., Joan Baez, the Weaver, Peter, Paul, and Mary, Dave Van Ronk, and Gordon Lightfoot—give the book enough of an expansive feel. Wald's personal knowledge seems encyclopedic, and his endnotes show how he ranged far beyond personal knowledge to produce the book.
An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s personal feelings about Dylan's music or persona.Pub Date: July 25, 2015
ISBN: 978-0-06-236668-9
Page Count: 368
Publisher: Dey Street/HarperCollins
Review Posted Online: May 15, 2015
Kirkus Reviews Issue: June 1, 2015
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by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996
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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