By Rick Bragg
A New York Times remarkable e-book of the Year
This haunting, harrowing, gloriously relocating recollection of a existence at the American margin is the tale of Rick Bragg, who grew up dirt-poor in northeastern Alabama, doubtless destined for both the cotton generators or the prison, and as an alternative turned a Pulitzer Prize-winning reporter for The manhattan Times. it's the tale of Bragg's father, a hard-drinking guy with a murderous mood and the behavior of operating out at the those that wanted him most.
But on the heart of this hovering memoir is Bragg's mom, who went eighteen years with no new gown in order that her sons can have college outfits and picked different people's cotton in order that her little ones wouldn't need to continue to exist welfare by myself. Evoking those lives--and the rustic that formed and nourished them--with artistry, honesty, and compassion, Rick Bragg brings domestic the affection and pain that lie on the center of each relatives. the result's unforgettable.
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Extra info for All Over but the Shoutin'
The absence of live performances and anything approximating today’s means of reproduction placed a premium on powers of recollection and rehearing, as well as rereading musical texts in which imaginary sounds were present. This was true as well for the use of the piano for hearing orchestral works. Apart from the silence and the aura of musical sound derived from its comparative rarity, the Brahmsian use of form and time, the micro-unit of change, and the larger coherences of which Schenker was fond of stressing, one must consider the reception of Brahms’s music in terms of the clocks of everyday life.
First, the evolution of music, by analogy with evolutionary theory, rendered instrumental music and the modern system of harmony the highest forms of development within a historical logic that was progressive and selective. The independence from the voice and speech was historical and reflected the increasing complexity of self-sufficiency of modes of sound production and modes of perception. In this sense, Wagner could be justified, if at all, only in so-called purely musical terms. Second, the specific character of tones and their logic, as well as the receptivity of the human ear, as a triumph of evolution led to the judgment that music was the purest art form since it was the most abstract, the most spiritual in the sense that it was the most rational—divorced from raw daily experience.
Brahms’s much discussed concern with historical models was driven by an absolutist instinct: that music as an independent mode of human experience was at once tied to human experience per se—the emotions and thoughts that humans display and have expressed in all of history. That independent element of expression and perception experienced a gradual historical clarification. In this sense, progress in science was regarded on a par with progress in musical technique and aesthetics. The conceit of certainty was such, however, that the forms of musical art seemed clearly understood.
All Over but the Shoutin' by Rick Bragg