From Publishers Weekly
Still churning out songs "that challenge the easy complacency and corporate arrogance of our time," influential Appalachian singer-songwriter Hazel Dickens has devoted her life to writing music not just about "the predictable themes of bluegrass-mama, the old home place, the distant but cherished past," but "questions of estrangement, survival, human dignity, and social and economic justice that concern us all." This slim biography, which includes many black and white photographs, lyrics and personal notes from Dickens, as well as a complete discography, chronicles her personal and professional life. Malone, an author and Tulane University history professor, illuminates the life of a "sensitive and discerning child of the poor" who overcame "a society that discouraged women from expressing themselves," and, over the decades, ended up speaking out for many. Dickens's stories, accompanying her song lyrics, provide additional insight into her heritage ( "Coal Miner's Grave," "West Virginia My Home"), personal experience and eccentric voice: "Scraps from Your Table," she says, is "one of those nasty smart-alecky songs that I like to write." This tribute to Dickens's life and work will interest bluegrass fans and activists.
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Hard on the heels of Foster Hirsch’s Otto Preminger: The Man Who Would Be King (2007) comes this somewhat complementary book. Fujiwara skims over Preminger’s early years directing for the Vienna stage and his later acting in movies (most memorably, Stalag 17) to emphasize his film direction, noting such stylistic markers as his fluid camera movements and long takes and drawing thematic connections between his early films and those shot three decades later. Fujiwara requisitely praises Laura and Preminger’s other lauded 1940s noirs, and the censor-defying The Moon Is Blue and The Man with the Golden Arm, but proceeds to be the contrarian about the large-scale early-1960s films, such as Exodus and Advise and Consent, that are commonly dismissed as bloated and inert. Fujiwara considers them radical and original, integral to Preminger’s self-definition as a filmmaker. A recent upswing in Preminger’s critical reputation justifies Hirsch’s and Fujiwara’s efforts, and libraries with strong film collections should consider both. Others will choose Hirsch for his emphasis on Preminger’s colorful life or Fujiwara for his informed and astute critique. --Gordon Flagg
--This text refers to an out of print or unavailable edition of this title.