Finally, the design of the book is attractive to the eye: the mix of black and blue type; the layout of the diagrams: four per page, with solutions on the page facing; the use of text boxes for pull quotes and take-home messages. Altogether, this creates a good impression, as does the book’s compactness.
A review of The Big Sleep by Raymond Chandler
Why should one read The Big Sleep today? Well, first there is the story: it is a thrilling ride. Then there is the quality of Chandler’s prose, his much vaunted style, which still impresses (though its downbeat and bathetic vibe is occasionally imitative of Hemingway).
A review of Talking Heads by Alan Bennett
Alan Bennett is the master of the monologue, pondering a range of social issues with a deftness that few other playwrights could match. This powerful collection features some of Bennett’s most famous monologues, performed superbly by actors that clearly have a deep understanding of the work. The combination of character development, a great eye for the minutiae of everyday life, and a theatrical sense of the absurd and tragic inherent in that life makes this an excellent piece of work.
Sensuality and Trouble: Marshall Crenshaw, Jaggedland
The fragile, shifting aspects of existence have found an eloquent chronicler in Crenshaw, although his voice may be too pretty for the crashing rhythms that surround it in “Someone Told Me.” “I sadly wondered, could we ever be on common ground?” he wonders after being told something disturbing, noting “so many worlds colliding” (“Someone Told Me”).
Killing Him Didn’t Make the Love Go Away: Amy LaVere, Anchors & Anvils and Died of Love
What are the acts that begin, nurture, sabotage, and end a life? Paul Taylor’s “Pointless Drinking” is a drinking song that critiques drinking, drawing focus to the contradictions and disappointments that could cause weeping but are here merely sobering, the kind of song selection that suggests significant intelligence in a singer, in Amy LaVere.
One More Listen: U2, No Line on the Horizon
The lyrics of “Breathe” blend reflections and observations, personal details and social events, and there is something surprisingly, pleasingly, Asian in some of the music. “Spent the night trying to make a deadline, squeezing complicated lives into a simple headline,” Bono sings in the song “Cedars of Lebanon,” an admission which seems less an ideal than a compromise to me, and part of the song’s Dylanesque rambling.
Woman as Center: Jill Sobule, California Years
It is impressive how much of the world Sobule gets into her songs, how easily she creates or documents characters. “Spiderman” could be the rantings of a mad man, but it is more likely the ruminations of one more person in California trying to make a little money off Hollywood by impersonating a movie figure. California Years ends with “The Donor Song,” a song made up of the names of people who contributed funds allowing Jill Sobule to create the album California Years.
American Masters, Southern Artists: Allen Toussaint’s The Bright Mississippi, Buckwheat Zydeco’s Lay Your Burden Down, and Steve Riley and the Mamou Playboys’ Best
The pianist, songwriter, and singer Allen Toussaint’s collection of song standards The Bright Mississippi is elegant, haunting, pleasing. Is that what is expected of music made by a musician in Louisiana? If anyone wants to know what music in Louisiana is like, they can listen to Allen Toussaint’s The Bright Mississippi, Buckwheat Zydeco’s Lay Your Burden Down, and Steve Riley and the Mamou Playboys’ Best of Steve Riley and the Mamou Playboys. This is American music by American masters.
A review of The Sicilian Bb5 Revealed by Neil McDonald
There is an occasional dry wit, too, which is no bad thing (e.g. after a cool positional display by Adams, he remarks that ‘the Hedgehog wasn’t so much squashed as slowly marinated’). There are a plentiful number of diagrams and the text is clear and well-spaced, however, one would have liked to have seen an index of players or complete games. Other than that, The Sicilian Bb5 Revealed is a model of its kind.
Beautiful Sadness, Bright Rhythms: Death Cab for Cutie, The Open Door
Gibbard has noted that liking interesting things doesn’t make a person interesting—well, that may be true, but it certainly gives you something interesting to think about, as with The Open Door, making us glad that the band values its own artistry as much as it does, and has had the talent, luck, and commitment to fulfill its own goals.