Having already evoked the Creole experience in folktale (Creole Folktales, 1995) and novel (Texaco, 1997, which won France's Prix Goncourt), Martinique's Chamoiseau proves an inventive memoirist in his account of a boy's struggle to keep his identity in a school committed to crushing it. In the first part, a ``little black boy'' badgers his mother to let him go to school; in the second part, he comes to regret his wish. Some of the school's terrors—sadistic teachers, schoolyard bullies—seem overly familiar. What is fresh is this school's systematic effort to root the Creole—``po'-nigger talk'' associated with poverty and subjection—out of the children and substitute pure French, the language of Martinique's imperial masters. The attempt results mainly in fostering shame and resentment as the students cling to their identity. The child's limited consciousness of this struggle (``his tongue soon seemed heavy to him . . . his accent hateful'') is expertly blended with the adult's awareness of the larger cultural issues. Never a simpleminded ideologue (he ridicules a substitute teacher whose black pride prevented him from ``tackl[ing] either the Universal or its world order''), the author sympathetically portrays the Francophile teacher's motives while condemning his actions; the preferred butt of the teacher's cruelty, Big Bellybutton, is also a memorable character. The irony of a memoir written in French about the evils of French language education is not evaded: The gift of letters is ultimately shown to be ``an inky lifeline of survival'' that allows the author to preserve Creole oral culture. That culture infuses his prose, vividly written in storyteller's rhythms and peppered with such Creole phrases as ``ziggedy-devil.'' Though sometimes distracting, the use of a chorus of rÇpondeurs and frequent shifting from third- person singular to first-person plural help transport the reader inside a foreign sensibility. Sometimes reading like an archetypal narrative of cultural domination, sometimes like an intimate memory from one's own childhood, this memoir rewards the effort to learn its language.
Pub Date: March 19, 1997
ISBN: 0-8032-1477-4
Page Count: 156
Publisher: Univ. of Nebraska
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 1997
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
BOOK REVIEW
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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