THE MONSTER SHOW

A CULTURAL HISTORY OF HORROR

Frightfully well-done survey of modern horror, eclipsing Stephen King's seminal Danse Macabre (1981) for clarity of writing, if not personableness or depth of idea, and Walter Kendrick's The Thrill of Fear (1991) for cultural savvy. Where Kendrick found horror literature, film, etc., to be primarily a way of coping with fear of death, Skal (Hollywood Gothic, 1991, etc.) stands with King in discerning within the genre responses to myriad contemporary social ills, from economic stagnation to AIDS. Skal opens with a striking symbol of the symbiosis of horror and societal unease: Diane Arbus, photographer of outcasts and misfits, sitting in a darkened Manhattan theater in 1961 watching a rare screening of Tod Browning's notorious horror masterpiece, Freaks. A rundown of Browning's life and of the nearly parallel career of Bram Stoker's Dracula and its many offshoots follows (some of the Dracula material is cribbed from Hollywood Gothic), culminating in the watershed year 1931, when Dracula, Frankenstein, Dr. Jekyll and Mr. Hyde, and Freaks burst onto the screen, defining American horror (like King and unlike Kendrick, Skal avoids extensive discussion of premodern horror). While Skal's text is intensely (sometimes forcibly) idea-driven (he finds the 1931 films, for instance, revolving ``around fantasies of `alternative' forms of reproduction,'' responses to the ``dust bowl sterility and economic emasculation'' of the time), he never forgets that horror is foremost a mass entertainment, and he enlivens his narrative with a wealth of enjoyable anecdote and fact (e.g., that Bela Lugosi, who spoke almost no English, learned his lines phonetically) as he covers every aspect of contemporary horror—from EC comic books, Aurora plastic models, and Stephen King to oddball TV horror hosts and the impact of latex makeup. Skal's love and respect for the genre shine through this impeccably researched, lively chronicle: a top-drawer choice for horror fans. (One hundred illustrations—not seen.)

Pub Date: March 22, 1993

ISBN: 0-393-03419-4

Page Count: 288

Publisher: Norton

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Feb. 1, 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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