PAPERS SOLDIERS

THE AMERICAN PRESS AND THE VIETNAM WAR

A tellingly detailed overview that casts a cold eye on the US media's vaunted role in the Vietnam War. While conventional wisdom holds that the press exerted substantive, even decisive, influence over home-front opinion and the course of the protracted conflict, Wyatt (History/Centre College) concludes that, on the whole, news coverage was neither actively adversarial nor remarkably antiestablishment. Without overstating the case, he draws on the public record and archival material to show that correspondents generally were singularly uncritical of the information they obtained from the American military and its civilian superiors. Only when official sources clammed up, lied, or were overtaken by events (as during the Tet Offensive) did the fourth estate's dispatches and broadcasts betray anything akin to skepticism. In fact, Wyatt notes, US news organizations tended to report the frequently unrealistic, party- line construals of cold warriors in Saigon, Washington, or elsewhere as fact even if their on-the-scene representatives urged caution. To a great extent, the author argues, American journalists were inclined to treat combat throughout Southeast Asia as a sort of police beat. At the tacit behest of their stateside editors, moreover, they largely ignored the tangled issues of Vietnamese politics, focusing instead on the short-run fates of US facilities and forces. Citing chapter and verse, the author documents how ethnocentricity remained a dominant theme of field coverage throughout the fighting. Not until full-scale troop withdrawals were under way during the early 1970's did the American people learn about three of the war's biggest stories—the My Lai massacre, the secret bombing of Cambodia, and the Pentagon Papers. Disclosure of these headline-making scandals, Wyatt observes, was attributable to tips checked out by US-based reporters, not to investigative digging by foreign correspondents. Revisionist perspectives that shed new light on an American institution unlikely to reappraise, let alone critique, its performance during a watershed era. (Maps—not seen.)

Pub Date: April 19, 1993

ISBN: 0-393-03061-X

Page Count: 256

Publisher: Norton

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Feb. 15, 1993

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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

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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

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