by Vladimir Nabokov ‧ RELEASE DATE: Feb. 25, 1982
Quite the least interesting, most dutiful of Nabokov's collegiate lectures on literature, these talks on Don Quixote were given at Harvard, 1951-52. Again, Nabokov applies principles of categorization to the text at hand: dimensions, numbering, topographies, maps. And he offers some (but not much) general discussion of the book's enduring genius. "What we shall witness now is the evolution of the epic form, the shedding of its metrical skin, the hoofing of its feet, a sudden fertile cross between the winged monster of the epic and the specialized prose form of entertaining narration, more or less a domesticated mammal, if I may pursue the metaphor to its lame end;" Nabokov sees Don Quixote as a logical continuation of earlier chivalric romances, "with the elements of madness and shame and mystification increased." The book, he finds, is one of those "perhaps more important in eccentric diffusion than in their intrinsic value." Clearly not one of Nabokov's favorite books, he sees it as neither humane nor humorous: a whole section of the lectures is given over to literally scoring (as in tennis) the Don's cruel humiliations. And Cervantes' comedy receives little praise: "Dulcinea shall be restored to Don Quixote if—now comes the rib-splitting joke—if Sancho consents to take 3000 lashes on his bare behind. Otherwise, says the Duke when he hears of the requirement, you do not get your island. The whole thing is very medieval, coarse, and stupid fun, as all fun that comes from the devil. Authentic humor comes from the angels." True, Nabokov is sometimes entertaining when he kibbitzes, one novelist to another, taking Cervantes to task for not having done a scene better; he does admire the hapless Don himself. ("He stands for everything that is gentle, forlorn, pure, unselfish, and gallant. The parody has become a paragon.") But the bon mots here are scarce, and the book is little more than an acerbic, uninvolved study-guide—for Nabokov fanatics only.
Pub Date: Feb. 25, 1982
ISBN: 0156495406
Page Count: 219
Publisher: Harcourt Brace Jovanovich
Review Posted Online: Oct. 1, 2011
Kirkus Reviews Issue: Feb. 1, 1982
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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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BOOK TO SCREEN
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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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