An engaging, perceptive companion for all writers.



A guide for academic writers that is also relevant to anyone who cares about fine prose.

Novelist, essayist, and literary scholar Kumar (English/Vassar Univ.; Immigrant, Montana, 2018, etc.) offers a handbook on style and form that is simultaneously elegant and practical. Admiring “fresh, provocative, unpredictable texts,” the author is dismayed by what Toni Morrison called “the proud but calcified language of the academy.” As fiction writer David Means observed, “so much academic writing seems sealed up and hermetic and uninspired, shorn away from a love of subject.” Academic writers, Kumar asserts, work in a “culture of oppression,” in which they strive to fit into “the existing codes”—scholarly jargon—of their field in order to publish the articles and books that will earn them tenure. As a graduate student, he admits that he, too, tried mightily to emulate his teachers “and wrote sentences whose texture was inevitably thicker than cement.” Dissatisfied with the quality of his work, he despaired of ever attracting readers: “Couldn’t our analyses become more exuberant, imaginative, and even playful?” Kumar agrees with other writing guides—Strunk and White’s for one—that advocate clarity and conciseness, but he knows that the admonition to “find your voice” can be confusing. “Perhaps specificity is what brings us closer to the idea of voice, which I think is another word for distinctiveness.” Voice, in any case, “depends on the question you are asking” and the “zones of experience” from which a writer is drawing. Kumar appends his slim manual with 10 habits he recommends to his students, including setting a daily goal of at least 150 words, turning off the internet, making sure to exercise, keeping a bookshelf of several volumes to turn to as guides in “the critical matter of method or style,” and finishing one project before taking up another. He shares advice about craft from many writers of fiction, nonfiction, and poetry, all of whom strive to “bring delight.” In that aim, Kumar amply succeeds.

An engaging, perceptive companion for all writers.

Pub Date: March 27, 2020

ISBN: 978-1-4780-0627-5

Page Count: 264

Publisher: Duke Univ.

Review Posted Online: Nov. 5, 2019

Kirkus Reviews Issue: Dec. 1, 2019

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Possibly inspired by the letters Cleary has received as a children's author, this begins with second-grader Leigh Botts' misspelled fan letter to Mr. Henshaw, whose fictitious book itself derives from the old take-off title Forty Ways W. Amuse a Dog. Soon Leigh is in sixth grade and bombarding his still-favorite author with a list of questions to be answered and returned by "next Friday," the day his author report is due. Leigh is disgruntled when Mr. Henshaw's answer comes late, and accompanied by a set of questions for Leigh to answer. He threatens not to, but as "Mom keeps nagging me about your dumb old questions" he finally gets the job done—and through his answers Mr. Henshaw and readers learn that Leigh considers himself "the mediumest boy in school," that his parents have split up, and that he dreams of his truck-driver dad driving him to school "hauling a forty-foot reefer, which would make his outfit add up to eighteen wheels altogether. . . . I guess I wouldn't seem so medium then." Soon Mr. Henshaw recommends keeping a diary (at least partly to get Leigh off his own back) and so the real letters to Mr. Henshaw taper off, with "pretend," unmailed letters (the diary) taking over. . . until Leigh can write "I don't have to pretend to write to Mr. Henshaw anymore. I have learned to say what I think on a piece of paper." Meanwhile Mr. Henshaw offers writing tips, and Leigh, struggling with a story for a school contest, concludes "I think you're right. Maybe I am not ready to write a story." Instead he writes a "true story" about a truck haul with his father in Leigh's real past, and this wins praise from "a real live author" Leigh meets through the school program. Mr. Henshaw has also advised that "a character in a story should solve a problem or change in some way," a standard juvenile-fiction dictum which Cleary herself applies modestly by having Leigh solve his disappearing lunch problem with a burglar-alarmed lunch box—and, more seriously, come to recognize and accept that his father can't be counted on. All of this, in Leigh's simple words, is capably and unobtrusively structured as well as valid and realistic. From the writing tips to the divorced-kid blues, however, it tends to substitute prevailing wisdom for the little jolts of recognition that made the Ramona books so rewarding.

Pub Date: Aug. 22, 1983

ISBN: 143511096X

Page Count: 133

Publisher: Morrow/HarperCollins

Review Posted Online: Oct. 16, 2011

Kirkus Reviews Issue: Aug. 1, 1983

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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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