A spirited, thoroughgoing deconstruction—responsible, if extravagantly partisan—of Marcel Duchamp's bohemian life and bizarre oeuvre, which formalist critics dismiss as monumental hype and postmodernists (``worshippers at the shrine of St. Marcel'') revere. New Yorker art columnist Tomkins (Post to Neo: The Art World of the 80's, 1988, etc.), argues (persuasively) that the artist's serial rejections—of the eye, the hand, the traditional, the subjective—changed the language of 20th-century art; he also argues (reductively) that they made Duchamp (not Matisse, not Picasso) its dominant influence. Tomkins traces the progress of Duchamp's idea of art-making from an ``anti-retinal'' activity of the mind (as with Nude Descending a Staircase, in which he contrived to paint motion), to an actualization of ``the beauty of indifference,'' the essence of Duchamp's aesthetic (per his Readymades, or signed found-objects). In the culture of Paris avant-garde that spawned Duchamp's conceptual metamorphoses, playwrights and poets figure as prominently as fellow visual artists: Tomkins singles out Jarry for his anarchism, LaForgue for his ironies, and Raymond Roussel for his exaltation of chance. Confident that Duchamp ``opened more doors than he closed,'' Tomkins has no disbelief to suspend. And so he welcomes Duchamp's cavalier self-contradictions as evidence of his ``affirmative irony.'' At the outset Tomkins calls his subject ``the ultimate escape artist''—and for all the subsequent accretion of biographical detail, Duchamp remains elusive. Which is in keeping, in a way, with the cultivated detachment that governed his multiple incarnations (debauchee on the run from WW I, chess pro in retreat from the art scene, accomplished parasite reluctant to profit directly from his art, eventual husband in spite of himself). Duchamp is certainly sui generis, for better and also for worse. Tomkins, determined to make the very best of him, rises to an audacious challenge. (130 illustrations, not seen)

Pub Date: Nov. 1, 1996

ISBN: 0-8050-0823-3

Page Count: 400

Publisher: Henry Holt

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Sept. 15, 1996

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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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Necessarily swift and adumbrative as well as inclusive, focused, and graceful.


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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