A debut guide offers a wide-ranging philosophy of responsible and balanced parenting.
Moore’s book takes on a topic that’s much in the news in the modern era of helicopter and lawn-mower guardians: the nature, limits, and origins of the parenting bond. Like many people who watch the news (or observe modern adults), she’s familiar with the ways that parenting in the 21st century often devolves into a harried series of negotiations, with many well-meaning mothers and fathers lamenting that “I don’t want to impose rules, just guidelines.” These parents are facing more challenges than ever before, including the need to oversee the screen time that has become such an inevitable part of everyone’s lives. The bulk of the author’s manual is a passionate, empathetic reminder to parents that their power isn’t derived from mediations with their charges. Rather, it comes from what the author refers to as “the natural authority of parenthood,” which springs from adults’ responsibility for their children and does not depend on particular strategies. Instead, it’s a functioning relationship in which parents make consistent demands and set firm limits. The book’s gambit extends across the whole spectrum of parenting concerns, including “food, friends, or the Web,” and pays attention to the broader cultural forces that have always been a part of the job. “Culture,” Moore writes, “can be as big as a nationality and as small as a family, with lots of layers in between.” But for all of its topical comprehensiveness, the book never strays far from its central tenet, which is the bedrock relationship between parent and child that morphs throughout its life span. “Many parents worry too much about doing the right thing at any given moment,” the author writes, “but it is less that a particular moment makes the difference than that the accumulation of moments creates a set of expectations for each of you.” Parents of all ages, especially new ones, should find Moore’s easygoing wisdom invaluable.
A wonderfully insightful, back-to-basics approach to parenting.
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").
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)