A debut memoir about the extraordinary relationship between a woman and a deer that she rescued.
In 1999,Carner and her husband, Pino Blangiforti, had a small farm, Unicorn Hollow, in Tewksbury, New Jersey, where they raised alpacas. One day in May, the author found a small, abandoned fawn that was no more than a few days old and close to death. Carner, drawing on years of experience as a paramedic, scooped up the animal and brought her to the house, placing her in a bathroom they used for their at-risk young alpacas. In riveting detail, she recounts how she revived the fawn they named Blossom with a tiny oxygen mask, intravenous fluids, drops of water on her tongue, and a bit of honey. As Blossom grew stronger, Carner brought her outside to reacclimatize her to her natural environment. The fawn and the author’s Maltese puppy, Kaya, played together in the house and the yard; at night, they curled up together on the bathmat in the shower. Blossom also played with Carner and Pino, greeting them with affectionate face licks. Gradually, friends and neighbors met Blossom. However, Tewksbury had an avid hunting community, and the deer was wandering and staying in the woods more frequently. In engaging, conversational prose, the narrative tracks Carner’s tireless efforts to keep Blossom safe from hunters over approximately four-and-a-half years; she even fashioned a special collar for her. With the tension of a thriller, the book describes the threatening phone calls that she received, in which locals expressed anger at the publicity surrounding Blossom, as well as a time that she had to save Blossom from someone who was intentionally poisoning her. There’s also a dramatic moment when Blossom suddenly arrived to rescue Carner on a muddy slope: “She shifted to support my weight and allowed me to crawl, inch by inch, until I could rest on her back…only turning to nuzzle my neck.”
A thought-provoking, poignant, and unusual love story that lingers.
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").
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)