Ziegfeld Follies - Wikipedia
There were also certain scenes that, to me, seemed out of place. For example, there was a physical relationship between an adult woman who was pregnant and an eight or nine-year-old boy. There was also a homosexual relationship of sorts between the two young boys which was very odd and had no bearing in the story later on.
Truthfully, I could find no way to reconcile these scenarios and others with the gist of what this tale was supposed to be about. I fail to see how things like the aforementioned apply to this specific era and truthfully, in my opinion, if one were to change the names and locations this story could be set in any time period and any place.
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Nov 10, Michael Rudin rated it really liked it. This is a novel about a German boy, a perfect Aryan product of Lebensborn and Hitler Youth, who rescues a Jewish boy thrown from a train with a violin in post-war Munich.
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The book takes the reader through their lives until the 's. The medieval German projection, outrage and contempt for The Other and his insular, ethnocentric beliefs and practices are alive and well at the beginning and the author investigates the German psyche through Franz, the German boy, throughout.
Franz learns empathy This is a novel about a German boy, a perfect Aryan product of Lebensborn and Hitler Youth, who rescues a Jewish boy thrown from a train with a violin in post-war Munich. Franz learns empathy and understanding through nurturing and later escape into the material as the novel progresses, only to be forced to deal with himself through unspeakable tragedy. The deranged-tinged guilt, the hyper vigilant victimization and the exquisite self-contempt of the Jewish boy survivor, J, is palpable.
A History in Song
The book is character-driven and recalls European movies and novels in which there is no real resolution, but perhaps the characters come to deep human ways to survive or to avoid real loss, horror and the motions of living through the day and surviving the night. Aug 11, David rated it it was ok. This review has been hidden because it contains spoilers.
To view it, click here. Read my review on New York Journal of Books: Johanna rated it liked it Apr 30, Dan Finkelman rated it really liked it Aug 14, Paul rated it really liked it Jan 13, Amanda Wils rated it liked it Nov 01, Sue marked it as to-read Oct 16, Daniel Kaplan marked it as to-read Oct 17, I highly recommend it. Katie Santiago rated it really liked it Jan 31, Dana rated it liked it Mar 17, Ruth Ellen rated it liked it May 16, Heather Mulvihill rated it it was amazing Nov 30, Liz Holding rated it it was amazing Mar 22, Dani rated it it was ok Aug 12, Rachel rated it liked it May 19, Katie Krall rated it it was ok May 10, Janice rated it really liked it Dec 09, Amy rated it liked it May 24, Robert Casas rated it really liked it Jul 06, Nefertari marked it as to-read Apr 11, Christine Ditzel marked it as to-read Apr 11, Catherine marked it as to-read Apr 11, Sue marked it as to-read Apr 14, Sarah McCutchan marked it as to-read Apr 21, Blue Falcon marked it as to-read Apr 21, Kara marked it as to-read Apr 25, Courtney marked it as to-read Apr 30, Strawberry marked it as to-read May 02, Lori Ann marked it as to-read May 25, Leah marked it as to-read Jun 09, Joanne marked it as to-read Jun 15, Heidi Glatfelter marked it as to-read Jul 05, Kelsey marked it as to-read Aug 21, Margie Epstein marked it as to-read Aug 31, Igrowastreesgrow marked it as to-read Sep 04, Clarissa marked it as to-read Sep 17, Jessica is currently reading it Nov 15, Kim Griffin marked it as to-read Nov 24, Pam marked it as to-read Nov 26, Alexandria Anderson marked it as to-read Nov 27, LeShelle marked it as to-read Nov 28, Kensington Books added it Nov 28, LeeEllen marked it as to-read Nov 28, Tammy marked it as to-read Nov 29, The song listing and discography will surely delight every Follies' fan.
Among these are fans of the Follies and theatre scholars. As each Follies production aimed at representing—or, frequently, satirizing—its historical milieiu, a study of the numbers in those productions offers excellent insights into the culture that produced them.
Van der Merwe's work is inarguably an important addition to the literature. The book's organization, the author's excellent use of reviews and other contemporaneous documents, the historical and cultural contextualizations of each Follies, and above all the author's concern with the Follies' developing images of American women all make for an invaluable resource for scholars of the American musical, and the straightforward if sometimes repetitive approach also invites use and enjoyment by general readers.
This book, van der Merwe's first, announces the arrival of an important new scholar writing about an era of American musical theater that fortunately is being reclaimed after decades of neglect. Readers can feel confident that the Follies and the age that produced them are in good hands.