A thoroughly enjoyable, quick read that will be best appreciated by the senior set.



Logan (The Navel Diaries, 2015) returns with a new collection of pithy and often humorous essays about the large and small shocks of aging.

The author’s latest offering highlights her determination to increase her physical and mental flexibility and to make changes necessary to live a purposeful life. The first chapter, “Wake Me Up before It’s Over,” lays the foundation for a volume that considers many annoying issues that aging throws at her, her reactions to them, and society’s assumptions about seniors. As is her style, Logan begins each essay with a seemingly random observation or experience. She opens with her outrage at what she describes as “a horrifying job performance review” by one of her students: “She’s an adorable little old lady.” A few chapters later, she discovers that her body has betrayed her: “I found a whisker on my neck.” After railing a bit at what she sees as an unacceptable affront to her femininity, she segues into a discussion of what else might be physically going on with her, out of sight of her magnifying mirror; what chemical messages are hormonal changes sending to her internal organs? “I’d better spend less energy plucking and more energy keeping all those vital internals in the loop,” she writes. These initial observations are breezy and wry, but they’re just the first steps down engaging paths through more serious issues, such as the need to stop oneself from being too rigid, the importance of regular physical checkups, gender and age discrimination, and other topics. Baby boomers, in particular, will find plenty of familiar cultural references from their youth that will make them smile throughout this collection. They’ll also relate to such declarations as “Let me behold me, in all my glory, as perfect today as I was on the day I was born.”

A thoroughly enjoyable, quick read that will be best appreciated by the senior set.

Pub Date: Dec. 31, 2018

ISBN: 978-0-9977353-9-0

Page Count: 208

Publisher: TerraCotta Publishing

Review Posted Online: Oct. 5, 2018

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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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