Will not endear Heylin to academics, but does disperse some smoke while fanning the flames of this fiery debate.

SO LONG AS MEN CAN BREATHE

THE UNTOLD STORY OF SHAKESPEARE’S SONNETS

The author of Bob Dylan: Behind the Shades (1991) and Bootleg: The Secret History of the Other Recording Industry (1995) concludes that an even more famous bard was both victim and beneficiary of “booklegging” when Shake-speares Sonnets appeared in 1609.

Heylin alludes frequently to his hero Dylan (“the Shakespeare of his day?”) and sees numerous correlations between the mysterious case of the Sonnets and the bootlegging of rock recordings. But he has also done his homework and presents in often frisky language some convincing answers to questions that have perplexed scholars for centuries. Did Shakespeare approve the publication of these intimate poems? Who was the “W.H.” of the dedication? Who were the real-life prototypes for the Dark Lady, the Fair Youth and the Rival Poet? Did he write those last two weak Cupid sonnets? Or “A Lover’s Complaint,” that long boring poem published with the Sonnets? Heylin demonstrates a scholar’s diligence and even makes a quick allusion to Jonathan Bate’s forthcoming Soul of the Age: A Biography of the Mind of William Shakespeare. But the author has come to bury, not praise most previous scholars and theorists, including venerable Shakespearean A.L. Rowse. Heylin is particularly disparaging about the work of Katherine Duncan-Jones, editor of Arden’s 1997 edition of Shakespeare’s Sonnets. Only near the end does he credit Duncan-Jones for being “the first modern academic” to recognize that the 108 “Fair Youth” sonnets are “a sequence unto themselves.” Heylin’s primary complaint about most of the experts is their determination to make what few facts there are conform to preconceptions—e.g., that Shakespeare could not have been bisexual. The author nominates minor poet John Davies as the most likely candidate to have snitched the sonnets and composed “A Lover’s Complaint.”

Will not endear Heylin to academics, but does disperse some smoke while fanning the flames of this fiery debate.

Pub Date: June 1, 2009

ISBN: 978-0-306-81805-9

Page Count: 288

Publisher: Da Capo

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: April 15, 2009

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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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