THE MOST WONDERFUL BOOKS

WRITERS ON DISCOVERING THE PLEASURES OF READING

The late Dorris (Cloud Chamber, 1997, etc.) and Buchwald, publisher of Milkweed Editions, have assembled 57 brief recollections by writers of how, in Dorris's words, they ``first encountered the magic of the printed word.'' As one might expect, these experiences vary widely: Sherman Alexie recalls learning to read from a Superman comic book; Nicholson Baker explains how he learned to read (``in the sense of of knowing how to follow a story with pleasure'') by being read to by his mother; Susan Kenney recollects her surprise when she discovered ``that words on the page make pictures in your mind, and you could take in a story with your eyes as well as through your ears.'' Larry Watson recaptures the exhilaration he felt when, at the age of 13, the local library allowed him to begin taking books from the adult section. Some pieces are unfocused, others perfunctory and unrevealing. But the best here are passionate and surprising, offering some distinctive celebrations of a lifelong infatuation with the power of the printed word to transport and enchant.

Pub Date: July 15, 1997

ISBN: 1-57131-216-1

Page Count: 314

Publisher: Milkweed

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: June 15, 1997

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Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...

THE ELEMENTS OF STYLE

50TH ANNIVERSARY EDITION

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

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WHAT A WONDERFUL WORLD

A LIFETIME OF RECORDINGS

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

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