An educative mixture of analysis, celebration, description, disappointment, disdain and, finally, love.




Novelist and Guggenheim Fellow Bram (Exiles in America, 2006, etc.) charts the emergence of gay writers, decade by decade, from the mostly-closeted 1940s to the whole-house present.

The author, gay himself, does not say much about his own career here—just a couple of modest asides—but he does pay homage to those he considers the godfathers of gay writing, including Tennessee Williams, Truman Capote, James Baldwin and the “fairy godfather,” Gore Vidal, to whom Bram returns continually throughout. The author also slams those critics who could not see the literary merit of stories with gay characters and behavior—principally Stanley Kauffmann, Stanley Edgar Hyman and Midge Decter, though Bram points out that writers from Norman Mailer to Andrew Sullivan have at times had “issues.” Bram follows the careers of the godfathers, but he also looks at other important novelists, poets and playwrights, including Christopher Isherwood, Allen Ginsberg, Edward Albee, James Merrill, Frank O’Hara, Edmund White, Larry Kramer, Tony Kushner, Mark Doty, David Leavitt, Michael Cunningham and many others. Often he pauses for plot summary, analysis and judgment. The author also points out writers he believes have not received sufficient attention, among them Paul Russell, Mark Merlis and Henry Rios. Bram pauses occasionally to rehearse key events in gay cultural history—the Howl obscenity trial, the Stonewall riots, the televised 1968 clash between William F. Buckley Jr., and Vidal, Anita Bryant’s anti-gay crusade, the devastating effects of the AIDS crisis in the ’80s and beyond. Bram also flashes some attitude here and there, and not just toward the enemies of gay writers. He sometimes chides Vidal, shines a harsh light on Capote and calls Edmund White’s novel Caracole “a complete dud.”

An educative mixture of analysis, celebration, description, disappointment, disdain and, finally, love.

Pub Date: Feb. 2, 2012

ISBN: 978-0-446-56313-0

Page Count: 320

Publisher: Twelve

Review Posted Online: Nov. 13, 2011

Kirkus Reviews Issue: Dec. 1, 2011

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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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