A strong and vivid portrait of some remarkable characters—and one that manages against the odds to get to the people behind...

POSITIVELY 4TH STREET

THE LIVES AND TIMES OF JOAN BAEZ, BOB DYLAN, MIMI BAEZ FARIÑA, AND RICHARD FARIÑA

Overweening ambition drives this insightful story of the 1950s folk music revival that anticipates the arrival of the 1960s counterculture.

By the end of the 1950s, American folk music (by such performers as Pete Seeger and Woody Guthrie) had established a small but loyal following. Entertainment Weekly editor Hajdu (Lush Life, 1996) believes that young people became interested in folk because of “its antihero mythos—a sense of the music as the property of outcasts.” College students who frequented the coffeehouses where folk began to flourish “were seeking something anti-intellectual” and would-be performers (including the Baez sisters, Richard Fariña, and Bob Dylan) flocked to the music because of its simple (and anti-commercial) approach. The charismatic Fariña was a promising writer who married folk singer Carolyn Hester and tried to hitch his wagon to her star (with little success), whereas Joan Baez (the “virgin princess”) haunted the Greenwich Village coffeehouses on 4th Street, shamelessly stole other singers’ material, and went on to fame. Mimi Baez coveted—and never came anywhere near—her sister Joan’s success. And Dylan (who came to New York in search of direction and found his model in Woody Guthrie) got his big break from Joan, who fell in love with him. Although the naked ambition of each these characters presents an unedifying spectacle throughout, Hadju saves his censure for Dylan, writing that the “irony of Robert Zimmerman’s metamorphosis into Bob Dylan lies in the application of so much elusion and artifice in the name of truth and authenticity.” Even so, Dylan appears more deluded than mendacious—a man who hid his identity because he was more confused than his audience about who he was.

A strong and vivid portrait of some remarkable characters—and one that manages against the odds to get to the people behind the egos.

Pub Date: June 1, 2001

ISBN: 0-374-28199-8

Page Count: 320

Publisher: Farrar, Straus and Giroux

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 15, 2001

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If the authors are serious, this is a silly, distasteful book. If they are not, it’s a brilliant satire.

THE 48 LAWS OF POWER

The authors have created a sort of anti-Book of Virtues in this encyclopedic compendium of the ways and means of power.

Everyone wants power and everyone is in a constant duplicitous game to gain more power at the expense of others, according to Greene, a screenwriter and former editor at Esquire (Elffers, a book packager, designed the volume, with its attractive marginalia). We live today as courtiers once did in royal courts: we must appear civil while attempting to crush all those around us. This power game can be played well or poorly, and in these 48 laws culled from the history and wisdom of the world’s greatest power players are the rules that must be followed to win. These laws boil down to being as ruthless, selfish, manipulative, and deceitful as possible. Each law, however, gets its own chapter: “Conceal Your Intentions,” “Always Say Less Than Necessary,” “Pose as a Friend, Work as a Spy,” and so on. Each chapter is conveniently broken down into sections on what happened to those who transgressed or observed the particular law, the key elements in this law, and ways to defensively reverse this law when it’s used against you. Quotations in the margins amplify the lesson being taught. While compelling in the way an auto accident might be, the book is simply nonsense. Rules often contradict each other. We are told, for instance, to “be conspicuous at all cost,” then told to “behave like others.” More seriously, Greene never really defines “power,” and he merely asserts, rather than offers evidence for, the Hobbesian world of all against all in which he insists we live. The world may be like this at times, but often it isn’t. To ask why this is so would be a far more useful project.

If the authors are serious, this is a silly, distasteful book. If they are not, it’s a brilliant satire.

Pub Date: Sept. 1, 1998

ISBN: 0-670-88146-5

Page Count: 430

Publisher: Viking

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: July 15, 1998

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The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the...

NIGHT

Elie Wiesel spent his early years in a small Transylvanian town as one of four children. 

He was the only one of the family to survive what Francois Maurois, in his introduction, calls the "human holocaust" of the persecution of the Jews, which began with the restrictions, the singularization of the yellow star, the enclosure within the ghetto, and went on to the mass deportations to the ovens of Auschwitz and Buchenwald. There are unforgettable and horrifying scenes here in this spare and sombre memoir of this experience of the hanging of a child, of his first farewell with his father who leaves him an inheritance of a knife and a spoon, and of his last goodbye at Buchenwald his father's corpse is already cold let alone the long months of survival under unconscionable conditions. 

The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the sphere of suffering shared, and in this case extended to the death march itself, there is no spiritual or emotional legacy here to offset any reader reluctance.

Pub Date: Jan. 16, 2006

ISBN: 0374500010

Page Count: 120

Publisher: Hill & Wang

Review Posted Online: Oct. 7, 2011

Kirkus Reviews Issue: Jan. 15, 2006

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