An amusing but rambling series of recollections.




In this debut memoir, a substitute teacher and job coach recounts his meandering career, artistic efforts, and thoughts on God.

After a mediocre performance as a college student, Palasciano became a substitute teacher. He was sorely unprepared for the experience, especially when compelled to teach subjects with which he had virtually no experience, let alone expertise: math, music, fashion design, and Spanish were among the list of daunting topics that he faced. Later, after moving back to San Diego, he landed a position as a job coach—he mentored and supervised disabled workers. Meanwhile, he was episodically devoted to artistic pursuits, mostly creative writing. But he was afflicted with a self-destructive pride: “I recalled being confounded by the deluded awesomeness of my own thoughts.” Palasciano, though, found that an authentic relationship with God properly knocked him off his “fake pedestal”: “I can testify that there has never been a more broken, defeated and undeserving person who God found and brought out into life than me. Before God pulled me out of that imaginary river, I had never sought His help.” The author’s remembrance is more impressionistic than an exhaustive, linear chronicle of his life, and it jumps freely across a wide spectrum of topics, including recreational drug use, the nature of artistic imagination, and the best ways to control a classroom of students. Palasciano’s account, especially of his time as a substitute teacher, can be hilariously self-effacing—he was once replaced by another substitute in the middle of class for his incompetence. In addition, his recollection is brimming with thoughtful aperçus, especially about teaching and art. But those same insights often have a truncated, unfinished character, as if the author is communicating a conclusion and not the philosophical route that led him to it. For example, he tantalizingly proclaims that “successful teachers got control by love” but never explains precisely what that means. As a result, the memoir reads like a personal journal not intended for public consumption, a draft to be completed later.

An amusing but rambling series of recollections. 

Pub Date: Feb. 15, 2019

ISBN: 978-1-73237-531-4

Page Count: 132

Publisher: Garden Oak Press

Review Posted Online: Jan. 8, 2019

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


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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