A lyrical and sensual celebration of four seasons on the American farm. Paulsen—a prolific and Newbery-winning children's author who's been venturing into the adult market lately (the thriller Kill Fee, 1990, etc.)—brings to this slim but rich appreciation a passion and wisdom not evident in his last adult nonfiction book, 1977's Farm. And also a burnished—at times preciously so—literary style, based on astute observation, wonderfully exact language, and definite cadence: "[The thresher machine] holds, oh yes it holds, and the grates begin to shuffle back and forth, the small saw teeth ripple like water, oh yes, the keyway holds and the machine—she—groans and heaves and humps and bucks and in a great crashing of noise and year-old dust and mouse nests it is there. It is there." Paulsen begins with his inspiration for the book—a moving encounter with an 82-year-old farmer whore beloved horse has just died—and then devotes an essay to each season, spring to winter, drawing on his own memories and telling stories he's heard to evoke and honor—sometimes with considerable power—farm life. And the nine postimpressionist paintings by Ruth Wright Paulsen, the author's wife, nicely complement his colorful prose.
Pub Date: Sept. 23, 1992
ISBN: 0-15-118101-2
Page Count: 144
Publisher: Harcourt
Review Posted Online: May 20, 2010
Kirkus Reviews Issue: Aug. 1, 1992
Categories: GENERAL NONFICTION
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Noted jazz and pop record producer Thiele offers a chatty autobiography. Aided by record-business colleague Golden, Thiele traces his career from his start as a ``pubescent, novice jazz record producer'' in the 1940s through the '50s, when he headed Coral, Dot, and Roulette Records, and the '60s, when he worked for ABC and ran the famous Impulse! jazz label. At Coral, Thiele championed the work of ``hillbilly'' singer Buddy Holly, although the only sessions he produced with Holly were marred by saccharine strings. The producer specialized in more mainstream popsters like the irrepressibly perky Teresa Brewer (who later became his fourth wife) and the bubble-machine muzak-meister Lawrence Welk. At Dot, Thiele was instrumental in recording Jack Kerouac's famous beat- generation ramblings to jazz accompaniment (recordings that Dot's president found ``pornographic''), while also overseeing a steady stream of pop hits. He then moved to the Mafia-controlled Roulette label, where he observed the ``silk-suited, pinky-ringed'' entourage who frequented the label's offices. Incredibly, however, Thiele remembers the famously hard-nosed Morris Levy, who ran the label and was eventually convicted of extortion, as ``one of the kindest, most warm-hearted, and classiest music men I have ever known.'' At ABC/Impulse!, Thiele oversaw the classic recordings of John Coltrane, although he is the first to admit that Coltrane essentially produced his own sessions. Like many producers of the day, Thiele participated in the ownership of publishing rights to some of the songs he recorded; he makes no apology for this practice, which he calls ``entirely appropriate and without any ethical conflicts.'' A pleasant, if not exactly riveting, memoir that will be of most interest to those with a thirst for cocktail-hour stories of the record biz. (25 halftones, not seen)
Pub Date: May 1, 1995
ISBN: 0-19-508629-4
Page Count: 224
Publisher: Oxford Univ.
Review Posted Online: May 20, 2010
Kirkus Reviews Issue: March 1, 1995
Categories: GENERAL NONFICTION
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Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").Pub Date: May 15, 1972
ISBN: 0205632645
Page Count: 105
Publisher: Macmillan
Review Posted Online: Oct. 28, 2011
Kirkus Reviews Issue: May 1, 1972
Categories: GENERAL NONFICTION
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