A POUND OF FLESH

PERILOUS TALES OF HOW TO PRODUCE MOVIES IN HOLLYWOOD

French avant-garde novelist Le ClÇzio (The Giants, 1975, etc.) offers up a meditation and lamentation on Mesoamerican civilizations and the Spanish conquest. Le ClÇzio starts by summarizing two key documents on the fall of the Aztecs: The True Story of the Conquest of Mexico, by conquistador Bernal Diaz, and History of Ancient Mexico, by Catholic missionary Bernardino de Sahagun. Diaz's text reveals a clash of ``dreams,'' the Spanish dream of gold vs. the Mayan dream of bearded men in armor sent by Quetzalcoatl. The History, composed after Cortes and his tiny band had crushed the vast Mexican empire, presents the shared dream of its Christian author and the surviving Indians whom he interviewed: that this lost civilization be recovered or at least memorialized. Other dreams follow, such as those of the shamanistic ``barbarian'' (i.e., non-Aztec) Indian nations, who fiercely resisted the influx of Christianity. Four hundred years later, tormented French poet Antonin Artaud arrived in Mexico, chasing his own dream of a world reborn. Le ClÇzio superbly presents the Aztec worldview with its ``dancing, bloody sacrifices, hallucinations, dreams.'' In a statement typically hyperbolic, he counts the destruction of this world of ``mystical cruelty'' by ``modern weapons and rational thought'' as ``the greatest disaster in human history.'' The author concludes by suggesting that the Aztec world, if it had survived, might have ``integrated dream and ecstasy into daily life.'' Heated, hypnotic, bizarre: Mesoamerican history as if composed by an Aztec priest. (One halftone, one map)

Pub Date: Oct. 20, 1993

ISBN: 0-8021-1543-8

Page Count: 208

Publisher: Grove

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: Aug. 15, 1993

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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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