A New York Times Book Review Editors' Choice In Her Body Knows, a fevered storyteller and a captive audience revisit the past together in each of David Grossman's novellas, trying to make sense of a betrayal that neither one can put to rest. In "Frenzy," reserved, respectable Shaul lets his sister-in-law, Esti, into a secret nightmare, as he reveals to her his conviction that his wife is having an affair. Along with Esti, we find ourselves trapped in his paranoia and desperation as we accompany the odd pair down Israel's highways on a journey that reveals a passion perverted by jealousy and self-loathing. In the title story, a successful but embittered novelist visits her mother, who is in the last stages of cancer. Grossman investigates the powers of storytelling to harm and heal as the daughter reads aloud her own imagined, merciless account of her mother's love affair with a much younger teenage boy. Gradually it becomes clear that, for all its anger, the daughter's story and the writing process itself have led her to a new appreciation of her mother's difficult character, and her own. Studies in obsession, claustrophobia, and the need to confess, these two novellas mark a new departure from "a writer who has been, for nearly two decades, the one of the most original and talented ... anywhere." (The New York Times Book Review).
Impressive, extraordinary and exotic ... the finest novel to date by a writer who has been, for nearly two decades, one of the most original and talented not only in his own country but anywhere' New York Times Book Review 'Extraordinary ... lust, frailty and fear are all laid bare ... the peeling away of lies and social restraints to disclose the naked soul is gripping' Daily Mail 'We could be like two people who inject themselves with truth serum, and at long last have to tell it - the truth I want to be able to say to myself, "I bled truth with her," yes, that's what I want. Be a knife for me, and I, I swear, will be a knife for you.' An awkward, neurotic seller of rare books writes a desperate letter to a beautiful stranger whom he sees at a class reunion. This simple, lonely attempt at seduction begins a love affair of words between Yair and Miriam, two married, middle-aged adults, dissatisfied with their lives, yearning for the connection that has always eluded them - and, eventually, reawakened to feelings that they thought had passed them by. Their correspondence unfolds into an exchange of their most naked confessions: of desire, childhood tragedies, joys, and humiliations. Through the dialogue between Yair - a family man and surprisingly successful adulterer, whose guarded letters reveal a life of duplicity - and Miriam, at first deceptively open and warm, who fills her life with distraction to avoid a past full of painful secrets, BE MY KNIFE explores the nature and the limits of intimacy.
Essays on politics and literature from one of world literature's most respected voices. 'The bravest and most clear-headed interpreter of the Israeli-Palestinian divide' Observer 'The most honest, soul-searching book yet written by an Israeli - or, for that matter, by a Palestinian - on an agony that neither of them alone can bring to an end' L.A. Times Throughout his career, David Grossman has been a voice for peace and reconciliation between Israel and its Arab citizens and neighbours. In five new essays on politics and literature in Israel today, he addresses the conscience of a country that has lost faith in its leaders and its ideals. This collection includes an already-famous speech that Grossman delivered in the presence of Ehud Olmert, attacking Olmert's policies and his prosecution of Israel's disastrous Lebanon war in 2006, the war that took the life of Grossman's 20-year-old son Uri. Moving, humane, clear-sighted, and courageous, these essays on literature and the Holocaust, and artistic creation as well as politics and philosophy are a cri de coeur from a calm voice of reason at a time of uncertainty and despair.
In a chorus of voices David Grossman's The Smile of the Lamb tells the story of Uri, an idealistic young Israeli soldier serving in an army unit in the small Palestinian village of Andal, in the occupied territories, and his relationship with Khilmi, a nearly blind old Palestinian storyteller. Gradually as the violent reality of the occupation that infects both the occupier and the occupied alike merges with the old man's stories, Uri, captivated by Khilmi's wisdom, tries to solve the riddles and deceits that make up his life. Originally published in Hebrew in 1983, The Smile of the Lamb is a novel of disillusionment and a piercing examination of injustice and dishonesty.
In this compassionate and genre-defying drama the internationally acclaimed author of To the End of the Land weaves an incandescent tale of parental grief. A powerful distillation of the experience of understanding and acceptance, and of art’s triumph over death, Falling Out of Time is part play, part prose, and pure poetry. As Grossman’s characters ultimately find solace and hope through their communal acts of mourning, readers will find comfort in their clamorous vitality, and in the gift of storytelling—a realm where loss is not an absence, but a life force in its own right.
David is a twelve-year-old boy living in Jerusalem in 1966. His best friend just happens to be seventy-year-old Heinrich Rosenthal, who lives at the Beit Hakerem Home for the Aged. Their friendship takes an unexpected turn when Mr. Rosenthal receives a threatening letter from the man he once knew as "the bully of Heidelberg University." The letter accuses Mr. Rosenthal of stealing a priceless painting and challenges him to a duel if it is not returned immediately. But Mr. Rosenthal didn't steal the painting. Who did? Determined to find some answers and prevent the duel, David plays detective and ultimately uncovers the story of two beautiful paintings, one of a woman's eyes and the other of her mouth, given by the artist to the two men who are now willing to kill one another over them. With some brilliant sleuthing and a bit of luck, David manages to pull together the strings of a story that began more than thirty years before, preventing a tragedy by bringing a long-dead memory to back to life.
A bestselling love story of two teenagers - and one missing dog - on the run in Jerusalem by the highly esteemed author of The Zigzag Kid 'Brings together the differing aspects of his writing in a book that unites social realism and dizzy teenage romance ... This is a book about feelings, about highs and lows, chemical, emotional, religious' Daily Telegraph Earnest, awkward and painfully shy, sixteen-year-old Assaf is having the worst summer of his life. With his big sister gone and his best friend suddenly the most popular kid in their class, Assaf spends his days at a lowly summer job in Jerusalem City Hall and his evenings alone, watching television and playing games on the Internet. One morning, Assaf's routine is interrupted by an absurd assignment: to find the owner of a stray yellow labrador. Meanwhile on the other side of the city, Tamar, a talented singer with a lonely, tempestuous soul, undertakes an equally unpromising mission: to rescue a young drug addict from the Jerusalem underworld ... and, eventually, to find her dog.
David Grossman's The Yellow Wind is essential reading for anyone who seeks a deeper understanding of Israel today. The Israeli novelist David Grossman's impassioned account of what he observed on the West Bank in early 1987—not only the misery of the Palestinian refugees and their deep-seated hatred of the Israelis but also the cost of occupation for both occupier and occupied—is an intimate and urgent moral report on one of the great tragedies of our time. This edition includes a new afterword by the author.
A hijacked train whisks an imaginative young boy on an unforgettable adventure, in which he makes discoveries about his own family's past and a wild woman who rescued his Israeli policeman father from a vat of chocolate. 'An affecting tale of the triumph of hope over desperate circumstances ... Napoleon's upbeat, colloquial style is extremely readable and the relationship between ZigZag and Singer is treated with as much depth of perception and sensitivity as that of John Steinbeck's Lenny and George. Against a backdrop of the dregs of American society and the impotence of social welfare ZigZag is a modern day Of Mice and Men' -The Times
David Grossman's masterly fusing of vision, thought, and emotion make See Under: Love a luminously imaginative and profoundly affecting work. In this powerful novel by one of Israel's most prominent writers, Momik, the only child of Holocaust survivors, grows up in the shadow of his parents' history. Determined to exorcise the Nazi "beast" from their shattered lives and prepare for a second holocaust he knows is coming, Momik increasingly shields himself from all feeling and attachment. But through the stories his great-uncle tells him—the same stories he told the commandant of a Nazi concentration camp—Momik, too, becomes "infected with humanity." "A dazzling work of imagination."--Michiko Kakutani, The New York Times
INTERNATIONAL BOOKER PRIZE NOMINEE • A remarkable novel of suffering, love, and healing—the story of three generations of women on an unlikely journey to a Croatian island and a secret that needs to be told—from the internationally best-selling author of To the End of the Land “A magnificent book ... The way Grossman writes about these regions is unique, with a deep understanding of our experience.” —Josip Mlakić, Express (Croatia) More Than I Love My Life is the story of three strong women: Vera, age ninety; her daughter, Nina; and her granddaughter, Gili, who at thirty-nine is a filmmaker and a wary consumer of affection. A bitter secret divides each mother and daughter pair, though Gili—abandoned by Nina when she was just three—has always been close to her grandmother. With Gili making the arrangements, they travel together to Goli Otok, a barren island off the coast of Croatia, where Vera was imprisoned and tortured for three years as a young wife after she refused to betray her husband and denounce him as an enemy of the people. This unlikely journey—filtered through the lens of Gili’s camera, as she seeks to make a film that might help explain her life—lays bare the intertwining of fear, love, and mercy, and the complex overlapping demands of romantic and parental passion. More Than I Love My Life was inspired by the true story of one of David Grossman’s longtime confidantes, a woman who, in the early 1950s, was held on the notorious Goli Otok (“the Adriatic Alcatraz”). With flashbacks to the stalwart Vera protecting what was most precious on the wretched rock where she was held, and Grossman’s fearless examination of the human heart, this swift novel is a thrilling addition to the oeuvre of one of our greatest living novelists, whose revered moral voice continues to resonate around the world.
In his most moving and most accessible novel yet, David Grossman, the leading Isreali novelist of his generation, gives us the story of that greatest and most universal tragedy, the loss of the world of childhood.
In Death as a Way of Life, David Grossman, one of Israel's great fiction writers, addresses urgent questions regarding the middle east in a series of passionate essays and insightful articles. Writing not only as one of his country's most respected novelists and commentators, but as a husband and father and peace activist bitterly disappointed in the leaders of both sides, Grossman asks: What went wrong after Oslo? How can Israelis and Palestinians make peace? How has the violence changed their lives, and their souls?
A doctor, a judge, and concerned parents contribute to this guide for helping to reduce the media violence children are exposed to daily through TV, video games and the Internet.
In The Hug, internationally renowned author David Grossman tells the moving story of the moment when Ben realizes that no two living creatures are alike—not his mother and father, their beautiful dog Miracle or the ants who march side by side at his feet and appear identical—and the loneliness he feels knowing that there is no one else quite like him in the whole world. But just as he is feeling the most alone he has ever felt, he is soothed by his mother’s loving hug. Timeless, touching, and beautifully produced, The Hug is a charming and important work for parents and children encountering the feeling of being different, together
Based on conversations with Palestinians in Israel, David Grossman's Sleeping on a Wire, like The Yellow Wind, is essential reading for anyone trying to understand the Middle East today. Israel describes itself as a Jewish state. What, then, is the status of the one-fifth of its citizens who are not Jewish? Are they Israelis, or are they Palestinians? Or are they a people without a country? How will a Palestinian state—if it is established—influence the sense of belonging and identity of Palestinian Israeli citizens? "No other Israeli writer so far has approached this touchy subject with such compassion, or looked at it with, so to speak, bifocal eyes, Israeli and Palestinian." --Amos Elon, The New York Review of Books
Every Tuesday, Yotam’s grandfather takes him to a coffee shop after kindergarten, where Grandpa Amnon drinks coffee and Yotam likes to draw. One day, Yotam has a question: “Grandpa, what’s on your face?” Grandpa Amnon explains that the lines on his face are wrinkles, and they are something that grownups get. He tells Yotam the stories of how he got each of his wrinkles. Some reasons for Grandpa’s wrinkles are sad, like when Grandma Dina was sick. But some reasons are happy, like the wrinkle Grandpa got when Yotam was born. Yotam looks closely at the circles and lines on Grandpa’s face, thinks hard ... and then expresses what he’s just learned about the beauty of aging in his own special way. Every Wrinkle Has a Story is a pro-aging story of curiosity, intergenerational storytelling and quiet contemplation through artwork. Key Text Features illustrations Correlates to the Common Core State Standards in English Language Arts: CCSS.ELA-LITERACY.RL.1.2 Retell stories, including key details, and demonstrate understanding of their central message or lesson. CCSS.ELA-LITERACY.RL.1.4 Identify words and phrases in stories or poems that suggest feelings or appeal to the senses.
A consideration of one of the Bible’s most powerful stories from a leading Israeli writer In this fascinating reexamination of the story of Samson, David Grossman goes beyond the surface of the familiar tale to look into what the life of this extraordinary man must have been like. What it felt like to have been “chosen” to release his people from the yoke of the Philistines, and yet alienated from them by his very otherness; what moved him to his acts of wild vandalism and his self-destructive passions; why he chose to keep some things secret, but not the most significant secret of all. We are left with the troubling knowledge that Samson bore too heavy a burden even for a man of his supernatural strength to bear alone. “There are few other Bible stories with so much drama and action, narrative fireworks and raw emotion, as we find in the tale of Samson: the battle with the lion; the three hundred burning foxes; the women he bedded and the one woman that he loved; his betrayal by all the women in his life, from his mother to Delilah; and, in the end, his murderous suicide, when he brought the house down on himself and three thousand Philistines. Yet beyond the wild impulsiveness, the chaos, the din, we can make out a life story that is, at bottom, the tortured journey of a single, lonely and turbulent soul who never found, anywhere, a true home in the world, whose very body was a harsh place of exile. For me, this discovery, this recognition, is the point at which the myth – for all its grand images, its larger-than-life adventures – slips silently into the day-to-day existence of each of us, into our most private moments, our buried secrets.” –from David Grossman’s introduction to Lion’s Honey
WINNER OF THE MAN BOOKER INTERNATIONAL PRIZE • From the bestselling author of To the End of the Land comes a searing story of loss and survival. In a dive bar in a small Israeli city, Dov Greenstein, a comedian a bit past his prime, takes the stage for his final show. Over the course of a single evening, Dov’s patter becomes a kind of memoir, taking us back into the terrors of his childhood. And in the dance between comic and audience, a deeper story begins to take shape as Dov confronts the decision that has shaped the course of his life—a story that will alter the lives of several of those in attendance. A Horse Walks Into a Bar is a poignant exploration of how people confront life’s capricious battering.
In 1993 the Oslo Agreements were signed by Yitzhak Rabin and Yasser Arafat, marking the beginning of promise for a constructive peace between the Israelis and the Palestinians. The ten years that followed were charted first by hope and optimism only to deteriorate into revenge and violence. Throughout this decade David Grossman has published articles in the American and European press, written in a personal voice - father, husband, peace activist, novelist - as he witnesses devastating events, cries out with prophetic wisdom, and implores both sides to return to sanity and to negotiations. The publication of this collection of articles will mark ten years since the dream of Oslo.
Presents a series of essays from the Israeli author exploring both sides of the Israeli-Palestinian conflict in an attempt of understand the breakdown of the peace process begun in Oslo by Yitzhak Rabin and Yasir Arafat.
Consolation has always played an uncomfortable part in the literary history of loss. But in recent decades its affective meanings and ethical implications have been recast by narratives that appear at first sight to foil solace altogether. Illuminating this striking archive, Discrepant Solace considers writers who engage with consolation not as an aesthetic salve but as an enduring problematic, one that unravels at the centre of emotionally challenging works of late twentieth- and twenty-first-century fiction and life-writing. The book understands solace as a generative yet conflicted aspect of style, where microelements of diction, rhythm, and syntax capture consolation's alternating desirability and contestation. With a wide-angle lens on the contemporary scene, David James examines writers who are rarely considered in conversation, including Sonali Deraniyagala, Colson Whitehead, Cormac McCarthy, W.G. Sebald, Doris Lessing, Joan Didion, J. M. Coetzee, Marilynne Robinson, Julian Barnes, Helen Macdonald, Ian McEwan, Colm Toibin, Kazuo Ishiguro, Denise Riley, and David Grossman. These figures overturn critical suppositions about consolation's kinship with ideological complaisance, superficial mitigation, or dubious distraction, producing unsettling perceptions of solace that shape the formal and political contours of their writing. Through intimate readings of novels and memoirs that explore seemingly indescribable experiences of grief, trauma, remorse, and dread, James demonstrates how they turn consolation into a condition of expressional possibility without ever promising us relief. He also supplies vital traction to current conversations about the stakes of thinking with contemporary writing to scrutinize affirmative structures of feeling, revealing unexpected common ground between the operations of literary consolation and the urgencies of cultural critique. Discrepant Solace makes the close reading of emotion crucial to understanding the work literature does in our precarious present.
Focusing on relationships between Jewish American authors and Jewish authors elsewhere in America, Europe, and Israel, this book explores the phenomenon of authorial affiliation: the ways in which writers intentionally highlight and perform their connections with other writers. Starting with Philip Roth as an entry point and recurring example, David Hadar reveals a larger network of authors involved in formations of Jewish American literary identity, including among others Cynthia Ozick, Saul Bellow, Nicole Krauss, and Nathan Englander. He also shows how Israeli writers such as Sayed Kashua perform their own identities through connections to Jewish Americans. Whether by incorporating other writers into fictional work as characters, interviewing them, publishing critical essays about them, or invoking them in paratext or publicity, writers use a variety of methods to forge public personas, craft their own identities as artists, and infuse their art with meaningful cultural associations. Hadar's analysis deepens our understanding of Jewish American and Israeli literature, positioning them in decentered relation with one another as well as with European writing. The result is a thought-provoking challenge to the concept of homeland that recasts each of these literary traditions as diasporic and questions the oft-assumed centrality of Hebrew and Yiddish to global Jewish literature. In the process, Hadar offers an approach to studying authorial identity-building relevant beyond the field of Jewish literature.
This is a collection of papers dedicated to the memory of well-known WTO staffer Bijit Bora who died suddenly in 2006. The papers include applied analysis of questions of policy in international trade in fields related to Bora's interests, including foreign direct investment, trade in services, competition policy, and trade and development. It contains previously unpublished papers by Bora himself on the impact of the WTO.
Bestselling author David Dalton goes in seach of the real Bob Dylan in an electrifying biography that puts all the others in the shade. As an artist Bob Dylan has been a major force for half a century. As a musical influence he is without equal. Yet as a man he has always acted like an outlaw on the run, constantly seeking to cover his tracks by confounding investigators with a dizzying array of aliases, impersonations, tall tales and downright lies. David Dalton presents Dylan's extraordinary life in such a way that his subject's techniques for hiding in full sight are gradually exposed for what they are, Despite the changing images, the spiritual body swerves, the manipulative nature and the occasionally baffling lurches between making sublime music and self-indulgent whimsy, the real Bob Dylan has never been more visible. Among the eyewitnesses cited are Marianne Faithful, Allen Ginsberg, Andy Warhol, Larry 'Ratso' Sloman, Nat Hentoff, Suze Rotolo and many more. Yet in the end it is Dalton's impressive ability to find revealing patterns in Dylan's multiple disguises that reveals more than we ever expected to learn about the real man behind the Dylan legend.
The presence of speculative bubbles in capital markets (an important area of interest in financial history) is widely accepted across many circles. Talk of them is pervasive in the media and especially in the popular financial press. Bubbles are thought to be found primarily in the stock market, which is our main interest, although bubbles are said to occur in other markets. Bubbles go hand in hand with the notion that markets can be irrational. The academic community has a great interest in bubbles, and it has produced scholarly literature that is voluminous. For some economists, doing bubble research is like joining the vanguard of a Kuhnian paradigm shift in economic thinking. Not so fast. If bubbles did exist, they would pose a serious challenge to neoclassical finance. Bubbles would contradict the ideas that markets are rational or work in an informationally efficient manner. That’s what makes the topic of bubbles interesting. This book reviews and evaluates the academic literature as well as some popular investment books on the possible existence of speculative bubbles in the stock market. The main question is whether there is convincing empirical evidence that bubbles exist. A second question is whether the theoretical concepts that have been advanced for bubbles make them plausible. The reader will discover that I am skeptical that bubbles actually exist. But I do not think I or anyone else will ever be able to conclusively prove that there has never been a bubble. From studying the literature and from reading history, I find that many famous purported bubbles reflect inaccurate history or mistakes in analysis or simply cannot be shown to have existed. In other instances, bubbles might have existed. But in each of those cases, there are credible rational explanations. And good evidence exists for the idea that even if bubbles do exist, they are not of great importance to understanding the stock market.
The stranger-than-fiction story of the ingenious creation and loss of an artificially intelligent android of science-fiction writer Philip K. Dick In late January 2006, a young robotocist on the way to Google headquarters lost an overnight bag on a flight somewhere between Dallas and Las Vegas. In it was a fully functional head of the android replica of Philip K. Dick, cult science-fiction writer and counterculture guru. It has never been recovered. In a story that echoes some of the most paranoid fantasies of a Dick novel, readers get a fascinating inside look at the scientists and technology that made this amazing android possible. The author, who was a fellow researcher at the University of Memphis Institute of Intelligent Systems while the android was being built, introduces readers to the cutting-edge technology in robotics, artificial intelligence, and sculpture that came together in this remarkable machine and captured the imagination of scientists, artists, and science-fiction fans alike. And there are great stories about Dick himself—his inspired yet deeply pessimistic worldview, his bizarre lifestyle, and his enduring creative legacy. In the tradition of popular science classics like Packing for Mars and The Disappearing Spoon, How to Build an Android is entertaining and informative—popular science at its best.
The story of the movement to establish the International Criminal Court, its tumultuous first decade, and the challenges it will continue to face in the future.
This is the story of Benny the son of David Levi, the central figure of "Of Guns & Mules" and the five-year period he spent serving with the British army in World War II. Volunteering in the summer of 1940, Benny becomes a driver in a Jewish-Palestinian unit and sees active service in Egypt and North Africa. After taking part in the defeat of Rommel's Afrika Corps, he is sent to Italy via Malta. There he undergoes combat training and, as a fighter in the newly formed Jewish Brigade, participates in the Allies final push against the Nazis. He also takes part in the unofficial revenge squads that hunt down and kill escaping SS officers. During the war Benny meets and falls in love with Tamar and also learns about the plight of Jews who were killed in the Holocaust. When not on duty, and with American support, Benny and his friends help those who survived the Holocaust, rescuing many concentration camp survivors and helping them reach Mandatory Palestine. After the war is over, the Brigade is sent to Belgium. Here, Benny continues to help the Jewish survivors before returning to Tel Aviv to begin a new life with Tamar.
John Fahey hovers ghostlike in the sound of almost every acoustic guitarist who came after him. He was to the solo acoustic guitar what Hendrix was to the electric: the man whom all subsequent musicians had to listen to. Fahey made more than forty albums between 1959 and his death in 2001, fusing folk, blues, and experimental composition, taking familiar American sounds and making them new. Yet Fahey’s life and art remain largely unexamined. His memoir and liner notes were largely fiction. His real story has never been told—until now. Journalist Steve Lowenthal has spent years talking with Fahey’s producers, friends, peers, wives, business partners, and many others. He describes how Fahey introduced pre-war blues to a broader public; how his independent label, Takoma, set new standards; how he battled his demons, including stage fright, alcohol, and prescription pills; how he ended up homeless and mentally unbalanced; and how, despite his troubles, he managed to found a new record label, Revenant, that won Grammys and remains critically revered. This portrait of a troubled and troubling man in a constant state of creative flux is not only a biography, but also the compelling story of a great American outcast. Steve Lowenthal started and ran the music magazine Swingset; his writing has also been published in Fader, Spin, Vice, and the Village Voice. He lives in New York City. David Fricke is a senior editor at Rolling Stone magazine.
Walt Rostow's meteoric rise to power--from Flatbush, Brooklyn, to the West Wing of the White House--seemed to capture the promise of the American dream. Hailing from humble origins, Rostow became an intellectual powerhouse: a professor of economic history at MIT and an influential foreign policy adviser to John F. Kennedy and Lyndon B. Johnson. Too influential, according to some. While Rostow inspired respect and affection, he also made some powerful enemies. Averell Harriman, one of America's most celebrated diplomats, described Rostow as "America's Rasputin" for the unsavory influence he exerted on presidential decision-making. Rostow was the first to advise Kennedy to send U.S. combat troops to South Vietnam and the first to recommend the bombing of North Vietnam. He framed a policy of military escalation, championed recklessly optimistic reporting, and then advised LBJ against pursuing a compromise peace with North Vietnam. David Milne examines one man's impact on the United States' worst-ever military defeat. It is a portrait of good intentions and fatal misjudgments. A true ideologue, Rostow believed that it is beholden upon the United States to democratize other nations and do "good," no matter what the cost. America's Rasputin explores the consequences of this idealistic but unyielding dogma.
The definitive history of the rise and heyday of the revolutionary Greenwich Village music scene, based on new research and first-hand interviews with many of its legendary performers Although Greenwich Village encompasses less than a square mile in downtown New York, rarely has such a concise area nurtured so many innovative artists and genres. Over the course of decades, Billie Holiday, the Weavers, Sonny Rollins, Dave Van Ronk, Ornette Coleman, Bob Dylan, Nina Simone, Phil Ochs, and Suzanne Vega are just a few who migrated to the Village, recognizing it as a sanctuary for visionaries, non-conformists, and those looking to reinvent themselves. Working in the Village’s smokey coffeehouses and clubs, they chronicled the tumultuous Sixties, rewrote jazz history, and took folk and rock & roll into places they hadn’t been before. Based on over 150 new interviews (Judy Collins, Sonny Rollins, Herbie Hancock, Eric Andersen, Suzzy and Terre Roche, Suzanne Vega, Steve Forbert, Arlo Guthrie, John Sebastian, Shawn Colvin, the members of the Blues Project, and more), previously unseen documents, and author David Browne’s longtime immersion in the scene, Talkin’ Greenwich Village lends the saga the epic, panoramic scope it’s long deserved. It takes readers from the Fifties jamborees in Washington Square Park and into landmark venues like Gerde’s Folk City, the Gaslight Café, and the Village Vanguard, onto Dylan’s momentous arrival and returns, the no-holds-barred Seventies years (West Village discos, National Lampoon’s Lemmings), and the folk revival of the Eighties (Vega’s enduring “Tom’s Diner”). In eye-opening fashion, Browne also details the often-overlooked people of color in the Sixties folk clubs, reveals how the FBI and city government consistently kept their eyes on the community, unearths the machinations behind the infamous “beatnik riot” in Washington Square Park, and tells the interconnected tales of Van Ronk, the seminal band the Blues Project, and the beloved sister trio, the Roches. In also recounting the racial tensions, crackdowns, and changes in New York and music that infiltrated the neighborhood, Talkin’ Greenwich Village is more than just vivid cultural history. It also speaks to the rise and waning of bohemian culture itself, set to some of the most enduring lyrics, melodies, and jazz improvisations in American music.
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