A wife recounts the good and bad years of marriage in this debut memoir.
Schuldner had been using dating services for a number of years when in June 2003 she received a message from a man named Stephen. Stephen told her that he was surprised that someone so beautiful “wasn’t yet taken.” The two chatted over the phone and then arranged to meet. When the author first set eyes on Stephen, she was lost for words: “I felt as though my soul was talking to his soul, as if they knew each other, and had finally found one another.” Stephen later echoed this sentiment by unexpectedly saying “welcome home.” Both raised on Long Island in the 1960s, the two developed an instant bond, with Schuldner thinking of Stephen as “myself in the male form.” They were married in the fall of 2004. The memoir is a celebration of the strength of their love in the face of adversity. Following the death of her grandmother and a number of miscarriages, the author experienced psychosis and asked for a divorce, and Stephen underwent surgery for cancer. The book is a skeletal chronology of Schuldner’s marriage to date. The author consciously avoids literary embellishment. For instance, when she first meets Stephen, little physical description is offered beyond “he was absolutely grand.” But she does tend to include banal details: “I asked him what kind of car he drove, and he told me a Toyota Corolla. I said that I did, too, and mine was green.” The memoir passionately records such minutiae that are of great significance to Schuldner and her husband, but less so to general readers. Yet the author’s asides can also prove deeply touching: “One day, I said to Stephen, ‘I love you more today than I did yesterday.’ He liked it so much he took it and said it back to me for years.” In the closing chapter, the author notes that the book was a joy to write and hopes “it will bring our families joy to read.” Her writing achieves this goal, although besides those facing similar challenges, the work will likely struggle to attract a wide readership.
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").
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)