on that a scholarly tome should not be expected. It is an eclectic mix and therefore, depending on the reader’s expectations, some of essays may disappoint, an inevitable consequence perhaps of being ‘supple and daring’. This attractive-looking book will doubtless catch the eye of a good many and, by reaching out across the Atlantic, it may also heighten interest, scholarly or otherwise, in The Oxford American magazine and some of its contributors. Its contents provide a captivating succession of well-written quick reads, unsurprising perhaps, since most of the essays have been penned by established fiction and non-fiction writers, whose lack of criticality is compensated for by emotive writing which appeals to the soul as much as the mind, seeping in like the music, maybe, through a sense of shared human experience. The allure of this vast anthology lies in the diversity of its contents and there is something here for almost everyone, from scholar to avid fan of music writing to casual reader alike. Non-American readers of this volume may enjoy being introduced to some new writers, and for those more familiar with American music writing penned by the likes of Robert Christgau, Lester Bangs, Greil Marcus and Richard Meltzer this book might make a refreshing, albeit slightly unconventional, diversion.
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