Riley, author of the best study by far of the Beatles' song catalogue (Tell Me Why, 1988), turns now to Bob Dylan—``the most important American rock 'n' roller since Presley''—with impressive, but less consistently persuasive, results. As before, Riley steers clear of biography and simply goes chronologically, album-by-album, song-by-song, through the Dylan oeuvre—including unreleased tracks, bootleg recordings, live concert tapes, and concert films. In fact, unlike most Dylan critics, Riley declines to link the songs to the life, contending (not always convincingly) that Dylan turns his ``intimate trials'' into ``public metaphors''—in contrast to ``self-serving,'' Me- decade types like James Taylor. Throughout, Riley stresses Dylan's humor, the satire implicit in his ``bad'' singing, his manipulations of his persona, and his eclectic roots. There's sharp criticism as well as enthusiasm here: The Times They Are A-Changin' succumbs to ``folkie social preening and black-and-white moralism''; Blonde on Blonde is a ``tour de force of obscurantist rock poetics''; ``I Shall Be Released'' is an ``overpraised and overplayed potboiler.'' Riley applauds Dylan's return to ``roots'' in his work with The Band and his country-ish albums but is pretty much appalled by the ``stringent and pious'' born-again albums. And, in contrast to many hard-core Dylan-ites, Riley finds little evidence of a revitalized Dylan once his ``slide'' begins circa 1978. Not everyone will buy Riley's attempt to view Dylan's weaknesses—the clichÇs, the slurred diction, etc.—as ``postmodernist.'' His dense, imagistic evocations of the songs occasionally become precious or strained. (`` `Idiot Wind' is an emotional soapbox as fearsome and cutting as any of the cutlery that flies in Edward Albee's Who's Afraid of Virginia Woolf?'') But, with full attention given to Dylan as performer and writer, to cover versions and disciples (Springsteen, Neil Young), and even to other Dylan-commentators, this is an essential book for Dylanologists: comprehensive, knowing, challenging.
Pub Date: Aug. 3, 1992
ISBN: 0-394-57889-9
Page Count: 400
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 15, 1992
BOOK REVIEW
A moving meditation on mortality by a gifted writer whose dual perspectives of physician and patient provide a singular...
A neurosurgeon with a passion for literature tragically finds his perfect subject after his diagnosis of terminal lung cancer.
Writing isn’t brain surgery, but it’s rare when someone adept at the latter is also so accomplished at the former. Searching for meaning and purpose in his life, Kalanithi pursued a doctorate in literature and had felt certain that he wouldn’t enter the field of medicine, in which his father and other members of his family excelled. “But I couldn’t let go of the question,” he writes, after realizing that his goals “didn’t quite fit in an English department.” “Where did biology, morality, literature and philosophy intersect?” So he decided to set aside his doctoral dissertation and belatedly prepare for medical school, which “would allow me a chance to find answers that are not in books, to find a different sort of sublime, to forge relationships with the suffering, and to keep following the question of what makes human life meaningful, even in the face of death and decay.” The author’s empathy undoubtedly made him an exceptional doctor, and the precision of his prose—as well as the moral purpose underscoring it—suggests that he could have written a good book on any subject he chose. Part of what makes this book so essential is the fact that it was written under a death sentence following the diagnosis that upended his life, just as he was preparing to end his residency and attract offers at the top of his profession. Kalanithi learned he might have 10 years to live or perhaps five. Should he return to neurosurgery (he could and did), or should he write (he also did)? Should he and his wife have a baby? They did, eight months before he died, which was less than two years after the original diagnosis. “The fact of death is unsettling,” he understates. “Yet there is no other way to live.”
A moving meditation on mortality by a gifted writer whose dual perspectives of physician and patient provide a singular clarity.Pub Date: Jan. 19, 2016
ISBN: 978-0-8129-8840-6
Page Count: 248
Publisher: Random House
Review Posted Online: Sept. 29, 2015
Kirkus Reviews Issue: Oct. 15, 2015
PERSPECTIVES
Well-told and admonitory.
Young-rags-to-mature-riches memoir by broker and motivational speaker Gardner.
Born and raised in the Milwaukee ghetto, the author pulled himself up from considerable disadvantage. He was fatherless, and his adored mother wasn’t always around; once, as a child, he spied her at a family funeral accompanied by a prison guard. When beautiful, evanescent Moms was there, Chris also had to deal with Freddie “I ain’t your goddamn daddy!” Triplett, one of the meanest stepfathers in recent literature. Chris did “the dozens” with the homies, boosted a bit and in the course of youthful adventure was raped. His heroes were Miles Davis, James Brown and Muhammad Ali. Meanwhile, at the behest of Moms, he developed a fondness for reading. He joined the Navy and became a medic (preparing badass Marines for proctology), and a proficient lab technician. Moving up in San Francisco, married and then divorced, he sold medical supplies. He was recruited as a trainee at Dean Witter just around the time he became a homeless single father. All his belongings in a shopping cart, Gardner sometimes slept with his young son at the office (apparently undiscovered by the night cleaning crew). The two also frequently bedded down in a public restroom. After Gardner’s talents were finally appreciated by the firm of Bear Stearns, his American Dream became real. He got the cool duds, hot car and fine ladies so coveted from afar back in the day. He even had a meeting with Nelson Mandela. Through it all, he remained a prideful parent. His own no-daddy blues are gone now.
Well-told and admonitory.Pub Date: June 1, 2006
ISBN: 0-06-074486-3
Page Count: 320
Publisher: Amistad/HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 15, 2006
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