A guide to personal finance and retirement that, through a Christian lens, focuses more on why than how.

READ REVIEW

Deep Wealth

AN EXPLORATION OF MONEY, MEANING, AND WHAT REALLY MATTERS

A guide to personal finance based on a Christian worldview.

In this debut personal finance book, Hamilton draws on the works of philosophers as well as his experience in the financial planning industry to offer a framework for developing financial goals that produce a positive effect on both the individual and society. Hamilton spends little time on specific guidelines for investments or target numbers for retirement planning; the bulk of the narrative addresses the relationship between financial behavior and personal values. “It’s easy to live according to the belief that our financial lives function separately from other areas of life,” he says. “But we need to realize that this is a fallacy, and a harmful one at that.” While the discussion of values begins in a secular context, by the midpoint of the narrative, the spiritual values become explicitly Christian: “This is where God with a capital ‘g’ comes in;” “I would submit that there is one ultimate epic tale, one meta-narrative that informs and instructs us. It is the story of Jesus Christ that is the baseline narrative which perfectly presents both the problem and the solution for humanity.” Hamilton encourages readers to find their purposes in life, align personal and financial values, and set financial goals that allow fulfillment through service to others—in particular, preparing for a retirement that provides the financial freedom to make choices without regular income while developing the mentality that retirement is a time for improving the world, not just leisure. Throughout the book, Hamilton draws on a gardening metaphor to vividly illustrate his arguments: for instance, “High quality bonds are like expensive mulch.” The book also draws heavily on anecdotal examples, from Southwest CEO Herb Kelleher to Abraham Lincoln to Delancey Street founder Mimi Silbert, to illustrate a purpose-driven ideal. The result is a useful tool for readers interested in developing a conceptual framework for their financial lives.

A guide to personal finance and retirement that, through a Christian lens, focuses more on why than how.

Pub Date: March 3, 2015

ISBN: 978-0-615-81738-5

Page Count: 240

Publisher: PFI Wealth Advisory

Review Posted Online: Sept. 4, 2015

Did you like this book?

No Comments Yet

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

Did you like this book?

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

Did you like this book?

more