GOLDEN DAYS

MEMORIES OF A GOLDEN RETRIEVER

A love song to a departed golden retriever, keen and tender, from Vanderbilt (Fortune’s Children, 1989). Vanderbilt’s parents had a dog much beloved by the whole family. Amy was her name, and she possessed all the best characteristics of golden retrievers: She was personable, emotional, enthusiastic, mischievous, always with an eye for fun. Vanderbilt was grown and gone by the time Amy entered the household, but his many summer vacations at the family place on Cape Cod allowed him to enjoy the dog to the fullest. Amy’s exploits are the nub of this short remembrance: how she would make nightly rounds to check on her charges; nuzzle a rotting sand shark to partake of its evil perfume; herd the family back to shore when they went for a swim in the ocean; show a bit of her roots during a towel-tugging contest with a bristle and fierce growl; how she failed as a seadog (actually it was Vanderbilt who failed as a seaman) but knew how to throw a baleful look when she was not invited along on an outing, getting all morose and hurt. Vanderbilt twines her story with concisely rendered elements of Cape Cod history. One moment he will reconstruct in his mind’s eye a grand hotel in Chatham, Mass., and the next tell the story of Squanto, the Native American who saved the Pilgrims during that first cold winter of 1621. Or he will delve into the natural history of the horseshoe crab while offering it up for Amy’s inspection, then remember that it was off this particular beach in 1918 that a 213-foot submarine of the Imperial German Navy —broke the glassy surface of the sea— to fire upon a tugboat, the only enemy attack upon the US in WW I. Through it all romps Amy. Good dog, lovely book.

Pub Date: May 11, 1998

ISBN: 0-553-11083-7

Page Count: 160

Publisher: Bantam

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: April 1, 1998

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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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