![]() ![]() ![]() ![]() ![]() The result is a buoyant Frederick Lewis Allen-like social history that's animated by an infectious soundtrack and lots of tactile details, and injected with a keen understanding of larger historical forces at work - both in Detroit and America at large. Maraniss cuts among story lines about the auto industry, the civil rights movement and City Hall, and among subplots involving Ford's development of its top-secret new car (the singular Mustang), the police commissioner's efforts to get the goods on the mobster Tony Giacalone and Berry Gordy's construction of a hit factory with Motown. succeeds with authoritative, adrenaline-laced flair. Maraniss uses them as windows on the larger cultural and political changes convulsing the nation in the '60s. People's experiences intersect or collide or resonate with one another, and Mr. Using overlapping portraits of Detroiters (from politicians to musicians to auto execs), he creates a mosaiclike picture of the city that has the sort of intimacy and tactile emotion that Larry McMurtry brought to his depictions of the Old West, and the gritty sweep of David Simon's HBO series "The Wire.". conjures those boom years of his former hometown with novelistic ardor. ![]()
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