Reads like an extended junior year abroad.



The book your mildly funny co-worker dreams of quitting his job to write.

Corbett, a dissatisfied young Australian gossip columnist, had always fantasized about living in Paris. Instead, he found himself broke in London, loathing the fog and, after two years, still trying to get over the failed relationship that brought him there. So when he saw an ad for a job in Paris, he applied, even though he was “hopelessly underqualified.” To his surprise, he was hired. He found an apartment, witnessed a Parisian couple copulating before an unshuttered window, and suddenly his heart was no longer his own. The rest of the memoir is devoted to his burgeoning love affair with the city, along with some stabs at human romance. While Corbett’s exuberance is winning and his writing competent, his adventures are standard guidebook fare. He presents unforgivably unimaginative insights and nicknames with the expectation of belly laughs: His circle of expat friends is the “Paris Posse”; he dubs a fellow gym-goer “the Freak,” because she’s weird; and one of the objects of his adoration is “the Showgirl,” because…she’s a showgirl. The author fails to devote enough time to the few truly amusing episodes, as when he contracted crabs, apparently without sexual contact of any kind, and had to visit a series of insensitive, unbelieving or hard-of-hearing medical professionals. Also quite funny is his account of being coerced into appearing on a French-language game show. A sense of shame prevents him from giving anything but a summary account of the proceedings, but the reactions he describes from those who saw the show indicate it must have been memorable. More episodes like this would have greatly improved his uneven, mostly uninspired book.

Reads like an extended junior year abroad.

Pub Date: April 1, 2008

ISBN: 978-0-7679-2817-5

Page Count: 288

Publisher: Broadway

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Feb. 1, 2008

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Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...



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").

Pub Date: May 15, 1972

ISBN: 0205632645

Page Count: 105

Publisher: Macmillan

Review Posted Online: Oct. 28, 2011

Kirkus Reviews Issue: May 1, 1972

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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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