What the world doesn't need: another set of jargon phrases to use in diagramming the life out of Shakespeare's plays. Gibson (Two for the Seesaw, The Miracle Worker) fashioned his particular vocabulary for a graduate seminar in play-wrighting, and perhaps in that context there was some educational benefit in describing Shakespearean scenes and overall dramatic structure in terms of "levels," "moves," "submoves," "objects," "barriers," "master premises," "surrogates," "third-act pivots," or "plunges" (the last two really just new tags for what every high-schooler learns as "climax" and "denouement"). For the general reader, however, as Gibson dips in and out of Hamlet, Lear, Othello, The Tempest, and many others, the effect is unoriginal at best—parallels between Lear and Gloucester, what keeps Hamlet from killing Claudius, etc.—and often infuriatingly cloddish, as with Midsummer's Night Dream: "The ass is 'translated' from the third level, where the move is the artisans' and its object is on the first. . . . On the fourth level, Oberon is the move and Titania the object." Only one sequence, in which Gibson uses his system in a comparison of the 1603 and 1604 version of Hamlet, offers anything remotely fresh and illuminating to scholar or playgoer. For the rest, we'll have to applaud playwright Gibson's assurance that this is his "first and last book as a critic.
Pub Date: Oct. 1, 1978
ISBN: 0689705735
Page Count: -
Publisher: Atheneum
Review Posted Online: March 30, 2012
Kirkus Reviews Issue: Sept. 1, 1978
An autobiography as toxic and addictive as any drug its author has ever ingested.
The legendary booze-addled metal rocker turned reality-TV star comes clean in his tell-all autobiography.
Although brought up in the bleak British factory town of Aston, John “Ozzy” Osbourne’s tragicomic rags-to-riches tale is somehow quintessentially American. It’s an epic dream/nightmare that takes him from Winson Green prison in 1966 to a presidential dinner with George W. Bush in 2004. Tracing his adult life from petty thief and slaughterhouse worker to rock star, Osbourne’s first-person slang-and-expletive-driven style comes off like he’s casually relating his story while knocking back pints at the pub. “What you read here,” he writes, “is what dribbled out of the jelly I call my brain when I asked it for my life story.” During the late 1960s his transformation from inept shoplifter to notorious Black Sabbath frontman was unlikely enough. In fact, the band got its first paying gigs by waiting outside concert venues hoping the regularly scheduled act wouldn’t show. After a few years, Osbourne and his bandmates were touring America and becoming millionaires from their riff-heavy doom music. As expected, with success came personal excess and inevitable alienation from the other members of the group. But as a solo performer, Osbourne’s predilection for guns, drink, drugs, near-death experiences, cruelty to animals and relieving himself in public soon became the stuff of legend. His most infamous exploits—biting the head off a bat and accidentally urinating on the Alamo—are addressed, but they seem tame compared to other dark moments of his checkered past: nearly killing his wife Sharon during an alcohol-induced blackout, waking up after a bender in the middle of a busy highway, burning down his backyard, etc. Osbourne is confessional to a fault, jeopardizing his demonic-rocker reputation with glib remarks about his love for Paul McCartney and Robin Williams. The most distinguishing feature of the book is the staggering chapter-by-chapter accumulation of drunken mishaps, bodily dysfunctions and drug-induced mayhem over a 40-plus-year career—a résumé of anti-social atrocities comparable to any of rock ’n’ roll’s most reckless outlaws.
An autobiography as toxic and addictive as any drug its author has ever ingested.Pub Date: Jan. 25, 2010
ISBN: 978-0-446-56989-7
Page Count: 320
Publisher: Grand Central Publishing
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 1, 2009
IN THE NEWS
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
BOOK REVIEW
BOOK REVIEW
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