From a global cast of winemakers come intimate, revealing comments about their art, which swing between invigorating to mellow.
Three years, 50 people and a dozen countries later, Mullen returns with these insights into why folks involved with the wine trade are in love with their work. The reasons are legion but all of a part: being outdoors and in tune with the seasons, entering into a partnership with the grapes, pride in the art of creation and an independence of spirit; as one Slovenian winemaker said, “When we started we have opinions that are different than other guys.” What Mullen has delivered is essentially a transcript of the spoken word, as unvarnished as are many of these mostly unsung winemakers—there are plenty of abrupt transitions and digressions—an enjoyable collection that contains many a rough diamond who yet ably convey the passion they bring to their work. “I like drinking red wine. I like making red wine. I like thinking about red wine.” Mullen keeps the proceedings lively by covering not only lots of ground—New Zealand to Missouri, Washington to the Azores—but also lots of aspects of winemaking, from cooperage to corks, the challenging demands placed on women winemakers, research into screwcaps, the talents of the garagiste, winery architecture. Particularly impressive is a short course on Italian geology that blossoms into an earnest and enlightening dissection of the whole notion of terroir, as well as a wonderfully disarming story of a Frenchman who now makes cognac, but who came to the calling via Kent in England, where he worked at “a small winery in the town of Chiddingstone for a bit more than two years. That’s where I learned to make wine.” That is an admission perhaps unique in the long annals of winemaking. Included are photographs heavily saturated with atmosphere, the kind you can almost smell before you see them. A fine, maverick company of winemakers hold court about the thing they love best: communing with the world of the grape.
Pub Date: Jan. 10, 2012
ISBN: 978-0-9849565-0-0
Page Count: 360
Publisher: Roundwood Press
Review Posted Online: Feb. 3, 2012
Review Program: Kirkus Indie
King handles his first novel with considerable accomplishment and very little hokum—it's only too easy to believe that these...
Figuratively and literally shattering moments of hoRRRRRipilication in Chamberlain, Maine where stones fly from the sky rather than from the hands of the villagers (as they did in "The Lottery," although the latter are equal to other forms of persecution).
All beginning when Carrie White discovers a gift with telekinetic powers (later established as a genetic fact), after she menstruates in full ignorance of the process and thinks she is bleeding to death while the other monsters in the high school locker room bait and bully her mercilessly. Carrie is the only child of a fundamentalist freak mother who has brought her up with a concept of sin which no blood of the Lamb can wash clean. In addition to a sympathetic principal and gym teacher, there's one girl who wishes to atone and turns her date for the spring ball over to Carrie who for the first time is happy, beautiful and acknowledged as such. But there will be hell to pay for this success—not only her mother but two youngsters who douse her in buckets of fresh-killed pig blood so that Carrie once again uses her "wild talent," flexes her mind and a complete catastrophe (explosion and an uncontrolled fire) virtually destroys the town.
King handles his first novel with considerable accomplishment and very little hokum—it's only too easy to believe that these youngsters who once ate peanut butter now scrawl "Carrie White eats shit." But as they still say around here, "Sit a spell and collect yourself."Pub Date: April 8, 1974
ISBN: 0385086954
Page Count: 216
Publisher: Doubleday
Review Posted Online: Sept. 26, 2011
Kirkus Reviews Issue: April 1, 1974
PERSPECTIVES
SEEN & HEARD
BOOK TO SCREEN
A first novel, this is also a first person account of Scout's (Jean Louise) recall of the years that led to the ending of a mystery, the breaking of her brother Jem's elbow, the death of her father's enemy — and the close of childhood years. A widower, Atticus raises his children with legal dispassion and paternal intelligence, and is ably abetted by Calpurnia, the colored cook, while the Alabama town of Maycomb, in the 1930's, remains aloof to their divergence from its tribal patterns. Scout and Jem, with their summer-time companion, Dill, find their paths free from interference — but not from dangers; their curiosity about the imprisoned Boo, whose miserable past is incorporated in their play, results in a tentative friendliness; their fears of Atticus' lack of distinction is dissipated when he shoots a mad dog; his defense of a Negro accused of raping a white girl, Mayella Ewell, is followed with avid interest and turns the rabble whites against him. Scout is the means of averting an attack on Atticus but when he loses the case it is Boo who saves Jem and Scout by killing Mayella's father when he attempts to murder them. The shadows of a beginning for black-white understanding, the persistent fight that Scout carries on against school, Jem's emergence into adulthood, Calpurnia's quiet power, and all the incidents touching on the children's "growing outward" have an attractive starchiness that keeps this southern picture pert and provocative. There is much advance interest in this book; it has been selected by the Literary Guild and Reader's Digest; it should win many friends.
Pub Date: July 11, 1960
ISBN: 0060935464
Page Count: 323
Publisher: Lippincott
Review Posted Online: Oct. 7, 2011
Kirkus Reviews Issue: July 1, 1960
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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