Neither as theologically profound nor as literary as the King James itself, but a useful and entertaining study.



Oxford don and theologian McGrath (Evangelicalism and the Future of Christianity, 1995) celebrates the King James Bible.

The English translation commissioned by James I and completed in 1611 is distinguished in two ways, according to McGrath. It’s important to historians and theologians because it put Scripture into the hands of ordinary people. It holds an equally key position in the literary canon as one of the most poetic, haunting works in the English language. The first three chapters summarize the history of the Reformation, the invention and dissemination of the printing press, the status of the European middle class, and the consolidation of the English language. This may be necessary background, but McGrath’s rehashes of well-known information about Gutenberg and Luther are stale and plodding. He serves up fresher material in chapter four, a discussion of the first English Bibles. Introducing readers to the Tyndale Bible, an English version that preceded the King James, McGrath notes reformer William Tyndale’s commitment to rendering the Scriptures in “proper English.” Tyndale’s clear, accessible translation would “prove to be of foundational importance to the shaping of later English translations.” We also read about the Calvinist Geneva Bible before finally getting to the King James Version. McGrath is at his most fascinating when explaining that the King’s translation team did not begin “with blank sheets of paper in front of them”; they were aware (and respectful) of the long line of English translators in which they stood. Bibliophiles will relish the discussion of printing errors in the early editions of the King James, and its defenders will be pleased to learn that none other than Noah Webster praised it for “forming and preserving” America’s English. The book also contains many lovely illustrations and the occasional helpful chart, like “A Note on Paper Sizes,” which explains the differences between a folio and a duodecimo edition.

Neither as theologically profound nor as literary as the King James itself, but a useful and entertaining study.

Pub Date: April 10, 2001

ISBN: 0-385-49890-X

Page Count: 352

Publisher: Doubleday

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: Feb. 1, 2001

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



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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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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