A fresh and balanced argument, though unlikely to convince most NRA members that liberals aren’t the enemy.



Former New York Times reporter and editor Whitney (All The Stops: The Glorious Pipe Organ and Its American Masters, 2003, etc.) mounts an evenhanded review of the gun issue in the United States.

There’s a gun for every American, writes the author, “about 100 million of them handguns,” and the National Rifle Association has emerged as one of the most powerful lobbies in the country, with outsized political clout. To hear the NRA tell it, gun rights are constantly under assault thanks to a liberal administration, even if President Barack Obama has rarely addressed the topic. Whitney examines the reasons for preserving private ownership of firearms, one being the well-worn constitutional bit about the “well-regulated militia”—though, thanks to an ardently pro-gun Supreme Court, you “don’t have to be part of any militia to exercise it”—and he endorses the broad notion that guns have a role in maintaining liberty, though that role has since been supplanted by still broader notions of self-defense. The author argues that because it is now unconstitutional to ban classes of weapons used in self-defense (including, apparently, machine guns and assault rifles), authorities and citizens would do better to press not for gun control as such, but instead to require training in the use and maintenance of weapons and to keep guns out of the hands of those who should not be holding them. “Instead of fighting chimerical battles,” writes Whitney, “American gun-rights and gun-control enthusiasts should be talking to each other about what can be done…to reduce gun violence, particularly by addressing the criminal and psychopathological behavior patterns that cause it.”

A fresh and balanced argument, though unlikely to convince most NRA members that liberals aren’t the enemy.

Pub Date: Nov. 13, 2012

ISBN: 978-1-61039-169-6

Page Count: 336

Publisher: PublicAffairs

Review Posted Online: Oct. 15, 2012

Kirkus Reviews Issue: Nov. 1, 2012

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Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...



Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.

Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").

Pub Date: May 15, 1972

ISBN: 0205632645

Page Count: 105

Publisher: Macmillan

Review Posted Online: Oct. 28, 2011

Kirkus Reviews Issue: May 1, 1972

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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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