The Every Woman's Guide To Equality


A motivational call to arms on the subject of women’s equality.

In this debut nonfiction book, McDonnell draws on both personal experience and broader history to address the challenges facing contemporary feminism and to exhort women to unite and organize around a common goal. McDonnell addresses discrimination on the job—with many examples of both sexual harassment and unequal treatment from her career in a male-dominated industry—unequal access to health care, and domestic violence, among other issues: “At a minimum, we are obligated to ensure that women are safe from violence, are protected from harassment and discrimination at work, and receive a basic level of respect in every other way.” The book includes a number of specific equality-related goals—convincing the NFL to punish its players who act violently, incorporating women into medical studies and drug testing, passing the Equal Rights Amendment—though it is not always clear what will signal that the fight for equality as a whole has been won. While statistics and anecdotes develop McDonnell’s indictment of each problem the book addresses, sections addressing potential methods of individual and group action invite the reader to move from perusing background information to taking a stand. Discussion questions and a list of organizations and resources at the end of the book provide further opportunities for readers looking to turn education into action. Those who are new to participating in social movements will find the book’s motivational arguments and guidance valuable, but more experienced activists may be put off by McDonnell’s unfamiliarity with concepts like unconscious bias. Her casual dismissal of intersectionality and legitimate complaints about mainstream feminism (“I know that if you have self-identified as a Black/Hispanic/Asian/African/Native American or Jewish/Christian/Muslim/Buddhist woman, it might be difficult to identify yourself simply as a woman. But we must do this to achieve equality”) may also make the book unwelcoming to some readers. A passionate, well-intentioned, but at times superficial exploration of the fight for women’s equality, the barriers to achieving it, and strategies for working toward it.

Pub Date: Aug. 26, 2015

ISBN: 978-0-9964844-0-4

Page Count: 154

Publisher: CreateSpace

Review Posted Online: Sept. 11, 2015

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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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