An intriguing and potentially controversial biography of the new President of Russia, by husband-and-wife Russian ÇmigrÇs Solovyov and Klepikova (Behind the High Kremlin Walls, 1986; Yuri Andropov, 1983). Skipping lightly over Yeltsin's early years, the authors concentrate on his conflict with Gorbachev and the Communist Party. While strongly supportive of Yeltsin (``a man of truly heroic stature'') and critical of Gorbachev (``a 60-year-old man made of Silly Putty''), their approach is sober and informed. Yeltsin and Gorbachev were born a month apart, the authors tell us, both the issue of generations of peasants and both hailing from villages remote from Moscow. But while Gorbachev grew to enjoy luxury and to cling to the Communist Party almost to the end, Yeltsin proved himself sternly incorruptible (during his tenure as Moscow Party boss, he traveled to work on the crowded subway) and made his mark as the first dissident from within the Kremlin, the first to leave a high Party position voluntarily, and the first to lead a popular revolt against the Party. Solovyov and Klepikova describe Yeltsin as sociable, noisy, effusive, a bit of a showoff, provincial and proud of it, but with ``extraordinary political instincts.'' The most controversial aspect of the authors' reportage, though, lies in their coverage of the August coup and the evidence they present that Gorbachev may even have been responsible for it (they cite key KGB sources, for example, who claim that Gorbachev's communications at his dacha were not, in fact, cut off). The authors conclude that they ``dare not close this book on an optimistic note,'' but they leave a sense that if anyone can triumph over chaos in Russia, it may be Yeltsin. Often disjointed and disorganized, as if hastily prepared, but providing remarkable insight into the conflicts in the Soviet Union and the quality of the man who has been called upon to deal with them.
Pub Date: March 30, 1992
ISBN: 0-399-13715-7
Page Count: 320
Publisher: Putnam
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 15, 1992
BOOK REVIEW
Erudite writing from an author struggling to find meaning through music.
An Ohio-based poet, columnist, and music critic takes the pulse of the nation while absorbing some of today’s most eclectic beats.
At first glance, discovering deep meaning in the performance of top-40 songstress Carly Rae Jepsen might seem like a tough assignment. However, Abdurraqib (The Crown Ain’t Worth Much, 2016) does more than just manage it; he dives in fully, uncovering aspects of love and adoration that are as illuminating and earnest as they are powerful and profound. If he can do that with Jepsen's pop, imagine what the likes of Bruce Springsteen, Prince, or Nina Simone might stir in him. But as iconic as those artists may be, the subjects found in these essays often serve to invoke deeper forays into the worlds surrounding the artists as much as the artists themselves. Although the author is interested in the success and appeal of The Weeknd or Chance the Rapper, he is also equally—if not more—intrigued with the sociopolitical and existential issues that they each managed to evoke in present-day America. In witnessing Zoe Saldana’s 2016 portrayal of Simone, for instance, Abdurraqib thinks back to his own childhood playing on the floor of his family home absorbing the powerful emotions caused by his mother’s 1964 recording of “Nina Simone in Concert”—and remembering the relentlessly stigmatized soul who, unlike Saldana, could not wash off her blackness at the end of the day. In listening to Springsteen, the author is reminded of the death of Michael Brown and how “the idea of hard, beautiful, romantic work is a dream sold a lot easier by someone who currently knows where their next meal is coming from.” In all of Abdurraqib’s poetic essays, there is the artist, the work, the nation, and himself. The author effortlessly navigates among these many points before ultimately arriving at conclusions that are sometimes hopeful, often sorrowful, and always visceral.
Erudite writing from an author struggling to find meaning through music.Pub Date: Nov. 14, 2017
ISBN: 978-1-937512-65-1
Page Count: 288
Publisher: Two Dollar Radio
Review Posted Online: Oct. 1, 2017
Kirkus Reviews Issue: Oct. 15, 2017
A brief but sometimes knotty and earnest set of studies best suited for Shakespeare enthusiasts.
A brisk study of 20 of the Bard’s plays, focused on stripping off four centuries of overcooked analysis and tangled reinterpretations.
“I don’t really care what he might have meant, nor should you,” writes Smith (Shakespeare Studies/Oxford Univ.; Shakespeare’s First Folio: Four Centuries of an Iconic Book, 2016, etc.) in the introduction to this collection. Noting the “gappy” quality of many of his plays—i.e., the dearth of stage directions, the odd tonal and plot twists—the author strives to fill those gaps not with psychological analyses but rather historical context for the ambiguities. She’s less concerned, for instance, with whether Hamlet represents the first flower of the modern mind and instead keys into how the melancholy Dane and his father share a name, making it a study of “cumulative nostalgia” and our difficulty in escaping our pasts. Falstaff’s repeated appearances in multiple plays speak to Shakespeare’s crowd-pleasing tendencies. A Midsummer Night’s Dream is a bawdier and darker exploration of marriage than its teen-friendly interpretations suggest. Smith’s strict-constructionist analyses of the plays can be illuminating: Her understanding of British mores and theater culture in the Elizabethan era explains why Richard III only half-heartedly abandons its charismatic title character, and she is insightful in her discussion of how Twelfth Night labors to return to heterosexual convention after introducing a host of queer tropes. Smith's Shakespeare is eminently fallible, collaborative, and innovative, deliberately warping play structures and then sorting out how much he needs to un-warp them. Yet the book is neither scholarly nor as patiently introductory as works by experts like Stephen Greenblatt. Attempts to goose the language with hipper references—Much Ado About Nothing highlights the “ ‘bros before hoes’ ethic of the military,” and Falstaff is likened to Homer Simpson—mostly fall flat.
A brief but sometimes knotty and earnest set of studies best suited for Shakespeare enthusiasts.Pub Date: April 21, 2020
ISBN: 978-1-5247-4854-8
Page Count: 368
Publisher: Pantheon
Review Posted Online: Dec. 17, 2019
Kirkus Reviews Issue: Jan. 15, 2020
BOOK REVIEW
BOOK REVIEW
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