An inside look at the 1993 chess match between Englishman Nigel Short and Gary Kasparov, from a longtime chess correspondent and confidant of Short's. Lawson delivers an intimate record of the first westerner's challenge for the world championship since the legendary Bobby Fischer. The match was played before London television cameras and treated by the English press as if it were Wimbledon. End Game penetrates to the inner game, a battle of individual wills. Short, a slight, bespectacled Lancashire man, rose out of England's amateur chess league as a child prodigy; Kasparov, rigorously trained in the Soviet system from childhood, was the reigning world champion. Lawson presents their contest as one between two antithetical philosophies, styles, and temperaments (as well as countries). With privileged information, he describes a suspenseful preliminary struggle, including the machinations of FidÇ, the world chess organization, against which Short and the famously fickle Kasparov joined in an uneasy alliance, forming their own players' association to sanction their championship match in London. In tellingly contrasted methods of preparation, Kasparov sequestered himself on a Croatian island with a retinue of three Russian grandmaster coaches, while Short crammed with a Czech grandmaster (whom he patricidally fired during the match itself) and shuttled between his coach in suburban Virginia and his family in Athens. Lawson, an unapologetic Short partisan, is unwaveringly loyal; his remarks about Short's enemies, whether in Kasparov's camp or in the British press, are sometimes abrasive and gratuitous. He is, however, objective enough as a chess correspondent to analyze Short's blunders (there is an appendix of each game in standard algebraic notation) and let him make his own excuses, which he rarely did. Although the games Short played will not make any anthologies, the playing of them as recounted here has wrenching immediacy, conveying the tension of every ploy, bluff, miscalculation, and inspired gambit.

Pub Date: July 1, 1994

ISBN: 0-517-59810-8

Page Count: 256

Publisher: Harmony

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: May 1, 1994

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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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Necessarily swift and adumbrative as well as inclusive, focused, and graceful.


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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