A charming memoir about the special joys of having a pet and the ups and downs of single living.


A popular writer whose fiction often features dogs (A Pug's Tale, 2011, etc.) lets fans in on the events in her life that served as inspiration.

Pace’s 2008 novel City Dog starred her beloved Carlie, a West Highland white terrier who is also pictured on the cover of this memoir. When she was 29, a confirmed New Yorker with two published novels under her belt, the author decided that, while she would like to find the man of her dreams, what she wanted most was a dog to share her life. Coming from a suburban home in Long Island filled with canines, this was not too surprising. Her family was so seriously into dogs, she writes, that when they gathered for holidays, the stories they would share were all about their pets; she still dates major events by which dogs they had at any given time. A feature writer with an advance on a third novel, she was working from home and able to care for a dog even in a city apartment. The first hurdle was finding a rental apartment that accepted pets, near enough to Central Park for dog-walking. That done, Pace settled on a 13-month-old Westie trained to be a show dog but disqualified by bow legs. Carlie quickly became the center of her besotted new owner's life. The author shares her experiences accustoming a nervous pet to city living, taking her along to social events and vetting prospective suitors based on how they hit it off with Carlie. Stranger-than-fiction moments include the discovery that another neighborhood Westie and Carlie were half siblings and the author’s encounter in the park with a fellow Westie owner who became her therapist.

A charming memoir about the special joys of having a pet and the ups and downs of single living.

Pub Date: Nov. 6, 2012

ISBN: 978-0-425-25587-2

Page Count: 256

Publisher: Berkley

Review Posted Online: Sept. 6, 2012

Kirkus Reviews Issue: Oct. 1, 2012

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This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)

Pub Date: Oct. 28, 1996

ISBN: 0-15-100227-4

Page Count: 136

Publisher: Harcourt

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Aug. 15, 1996

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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

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