THE MONEY BAZAAR

INSIDE THE TRILLION-DOLLAR WORLD OF CURRENCY TRADING

An authoritative, if pedantic, introduction to the mercurial foreign-exchange market, where daily trading volume ranges up to $700 billion—and millions can be gained or lost on the judgments of youthful MBAs like the author. Having made a name for himself at Salomon Brothers and Bankers Trust before striking out on his own, Krieger has an insider's knowledge of a demanding profession. Unfortunately, he conveys only hints of the high-stakes game's risks and rewards, opting instead for a matter-of-fact recitation of its fundamentals. The author nonetheless provides an accessible rundown on the globe-girdling network in which nervy traders buy or sell American dollars, French francs, German marks, Japanese yen, and other hard currencies for the accounts of money-center banks, multinational corporations, securities firms, and a handful of private investors. He also makes a good job of clarifying the supply/demand forces that move the unregulated, round-the-clock market—and why it matters. But apart from self-congratulatory accounts of a few fondly remembered coups (including a killing in New Zealand kiwi), Krieger offers precious little material that's not available elsewhere in more detailed form. Indeed, he devotes the bulk of his text to a sketchy monetary history of the industrial world from Bretton Woods to the present. While the author hits such high points as 1971, the year the US went off the gold standard (creating a need for the foreign- exchange market now in existence), his narrative loses considerable momentum when he stops for explanatory background. Appreciably more interesting are Krieger's unhedged views on the greenback's prospects as a reserve currency and allied subjects. Worth noting, though, is that he borrows (without credit) from Michael M. Lewis (of Liar's Poker fame) a what-if scenario of the potentially dire consequences of an earthquake in Tokyo. An essentially academic exercise lacking in the personal perspectives that could have made it much more than a primer.

Pub Date: March 1, 1992

ISBN: 0-8129-1861-4

Page Count: 288

Publisher: Times/Henry Holt

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Jan. 1, 1992

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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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Necessarily swift and adumbrative as well as inclusive, focused, and graceful.

A LITTLE HISTORY OF POETRY

A light-speed tour of (mostly) Western poetry, from the 4,000-year-old Gilgamesh to the work of Australian poet Les Murray, who died in 2019.

In the latest entry in the publisher’s Little Histories series, Carey, an emeritus professor at Oxford whose books include What Good Are the Arts? and The Unexpected Professor: An Oxford Life in Books, offers a quick definition of poetry—“relates to language as music relates to noise. It is language made special”—before diving in to poetry’s vast history. In most chapters, the author deals with only a few writers, but as the narrative progresses, he finds himself forced to deal with far more than a handful. In his chapter on 20th-century political poets, for example, he talks about 14 writers in seven pages. Carey displays a determination to inform us about who the best poets were—and what their best poems were. The word “greatest” appears continually; Chaucer was “the greatest medieval English poet,” and Langston Hughes was “the greatest male poet” of the Harlem Renaissance. For readers who need a refresher—or suggestions for the nightstand—Carey provides the best-known names and the most celebrated poems, including Paradise Lost (about which the author has written extensively), “Kubla Khan,” “Ozymandias,” “The Charge of the Light Brigade,” Wordsworth and Coleridge’s Lyrical Ballads, which “changed the course of English poetry.” Carey explains some poetic technique (Hopkins’ “sprung rhythm”) and pauses occasionally to provide autobiographical tidbits—e.g., John Masefield, who wrote the famous “Sea Fever,” “hated the sea.” We learn, as well, about the sexuality of some poets (Auden was bisexual), and, especially later on, Carey discusses the demons that drove some of them, Robert Lowell and Sylvia Plath among them. Refreshingly, he includes many women in the volume—all the way back to Sappho—and has especially kind words for Marianne Moore and Elizabeth Bishop, who share a chapter.

Necessarily swift and adumbrative as well as inclusive, focused, and graceful.

Pub Date: April 21, 2020

ISBN: 978-0-300-23222-6

Page Count: 304

Publisher: Yale Univ.

Review Posted Online: Feb. 9, 2020

Kirkus Reviews Issue: March 1, 2020

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