An accessible story of a man whose quiet moments are filled with heavenly guidance.

READ REVIEW

When All Goes Quiet

VISIONS, EPISODES, AND REVELATIONS

A man recounts a lifetime of divine intercession.

Lodewyks characterizes his nonfiction debut as a Navi, a Jewish scriptural term for a work channeled directly through a human mouthpiece from God. “These promptings by the Holy Spirit,” he writes, referring to his own book, “have come from a place unfamiliar to this author’s capabilities as an English writer.” This relationship as conduit and amanuensis for God began while Lodewyks was still in his mother’s womb: she was pregnant with the sixth of seven sons while she and her husband and other children were moving from Holland to Canada. In quick but vivid detail (“God managed to get me excited about the chiropractic profession,” he writes, for example), Lodewkys recounts his youth growing up in Canada, his family life, his marriage, anecdotes of his parents’ and grandparents’ experiences in Holland during World War II, the death of his father from lung cancer, and so on. But there’s a parallel narrative running underneath this autobiography and often surfacing to overtake it. Lodewyks was in a frequent state of spiritual ecstasy, possessed since childhood by the ability to experience moments when all the day’s surrounding noise suddenly went quiet and God made contact with him directly. These visitations were never visible or audible to anybody else, but they guided, surprised, and often amused him—this is a delightfully playful spiritual odyssey. Angels and spirits were everywhere in Lodewyks’ daily life, watching over his friends and relatives, attending the births of his children, safeguarding those children all through their adult lives. Through it all, Lodewyks stresses that his readers don’t require his supernatural gifts in order to further their own spirituality: “Life does not have to go quiet for you to note the signs that God puts in front of you as he directs you to do His work.” The upshot will of course be lost on Lodewyks’s non-Christian readers, but for his fellow faithful, this will be the ultimate comforting account of a safeguarded existence.

An accessible story of a man whose quiet moments are filled with heavenly guidance.

Pub Date: Aug. 7, 2015

ISBN: 978-1-4602-6975-6

Page Count: 232

Publisher: FriesenPress

Review Posted Online: Oct. 2, 2015

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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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MOMOFUKU MILK BAR

With this detailed, versatile cookbook, readers can finally make Momofuku Milk Bar’s inventive, decadent desserts at home, or see what they’ve been missing.

In this successor to the Momofuku cookbook, Momofuku Milk Bar’s pastry chef hands over the keys to the restaurant group’s snack-food–based treats, which have had people lining up outside the door of the Manhattan bakery since it opened. The James Beard Award–nominated Tosi spares no detail, providing origin stories for her popular cookies, pies and ice-cream flavors. The recipes are meticulously outlined, with added tips on how to experiment with their format. After “understanding how we laid out this cookbook…you will be one of us,” writes the author. Still, it’s a bit more sophisticated than the typical Betty Crocker fare. In addition to a healthy stock of pretzels, cornflakes and, of course, milk powder, some recipes require readers to have feuilletine and citric acid handy, to perfect the art of quenelling. Acolytes should invest in a scale, thanks to Tosi’s preference of grams (“freedom measurements,” as the friendlier cups and spoons are called, are provided, but heavily frowned upon)—though it’s hard to be too pretentious when one of your main ingredients is Fruity Pebbles. A refreshing, youthful cookbook that will have readers happily indulging in a rising pastry-chef star’s widely appealing treats.    

 

Pub Date: Oct. 25, 2011

ISBN: 978-0-307-72049-8

Page Count: 256

Publisher: Clarkson Potter

Review Posted Online: Jan. 13, 2012

Kirkus Reviews Issue: Oct. 15, 2011

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