ANYTHING WE LOVE CAN BE SAVED

A WRITER'S ACTIVISM

Like Walker's past collections, this one makes a stab at some of the themes of her fiction—nonpatriarchal religion, the true relationship of humans to the earth, racism, the oppression of women, and the interconnectedness of all of the above. But like her earlier essays, these fail to address the issues with anything approaching the grace of her fiction. She covers both the large and small, the historic and the everyday, celebrating the Million Man March, Zora Neale Hurston, Winnie Mandela, dreadlocks, and her family. But too often, when she writes about people she knows—her siblings, or her partner, for instance—the affectionate portraits don't tell us anything new or surprising. In one essay, Walker lambastes her critics for making her feel bad, comparing a review she received from another black female writer in the Village Voice to an obscene, threatening note she received in the mail. She writes about an essay that went unwritten because she was discouraged by "unhelpful" reviews; yet she is so vague about the nature of the criticism that one can't help thinking that what really bothered her was being criticized at all. It's not the only point at which she uses the collection as an opportunity to vent her personal grudges—against a writer who allegedly plagiarized a letter she wrote to Essence magazine that was never printed, and against the New York Times and other publications that haven't treated her with the respect she believes she deserves. Worse, much of her prose here is rambling, unclear, and choppy. One of these pieces contains a lengthy excerpt from her Pulitzer Prize-winning novel, The Color Purple, which only serves to reinforce our disappointment in her nonfiction writing.

Pub Date: April 1, 1997

ISBN: 0-679-45584-1

Page Count: 224

Publisher: Random House

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Feb. 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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