Despite the collection’s inevitable repetition, it provides another necessary, unsettling window into alcohol and art.


A writer confronts his muse, “my woman, my wine, my god.”

Following writing, cats, and love, this is the fourth in what has become a series of Bukowski (1920-1994) anthologies edited by former Fulbright scholar and current Marie Curie fellow Debritto. Drinking is one of the activities the self-described “life-long alcoholic” was most famous for—and was usually accompanied by writing. Covering the period from 1961 to 1992, the book is a hodgepodge of previously published and unpublished poetry, prose, interviews, letters, humorous drawings, and some photographs, most of the author with a bottle of beer or wine. Bukowski was always honest about his disease. In a 1971 interview, when asked if he was an alcoholic, he responded, “Hell, yes.” He was proud of his capacity for drinking and writing in spite of the suffering and hospital visits it caused. Never a fan of drugs, when drinking, he preferred writing poetry over prose, which was “too much work.” In 1989, he wrote to a friend, “I think I write as well sober as drunk. Took me a long time to find that out.” The collection reveals a man who claims he’s old and getting older, has worked odd jobs here and there, had sex with many women, and written a lot: “I drink when I write. It’s good luck, it’s background music.” Thank goodness Bukowski could laugh about his plight. Responding to an interviewer, he says, “In fact, I am drinking as I answer these questions.” This is a sad and depressing portrait of a talented man in self-destruct mode. In another interview, he says, “drinking is a form of suicide….It’s like killing yourself, and then you’re reborn.” The title of a 1973 poem says it all: “another poem about a drunk and then I’ll let you go.

Despite the collection’s inevitable repetition, it provides another necessary, unsettling window into alcohol and art.

Pub Date: Feb. 12, 2018

ISBN: 978-0-06-285793-4

Page Count: 272

Publisher: Ecco/HarperCollins

Review Posted Online: Oct. 14, 2018

Kirkus Reviews Issue: Nov. 1, 2018

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This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)

Pub Date: Oct. 28, 1996

ISBN: 0-15-100227-4

Page Count: 136

Publisher: Harcourt

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Aug. 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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