Conscientious, literate help for the ``millions of Americans'' who suffer from money-centered addictions. ``Like food and sex,'' says therapist Boundy, ``money is a powerful psychic symbol'' as well as a common focus of cravings. Through case studies and analysis, she demonstrates here how money- -or access to it—can come to represent love, nourishment, sexual potency, unresolved childhood longings, or even ``filth.'' It can also lend itself to behavior associated with obsession, repetition, denial, moodiness, increased tolerance for bizarre outcomes, distorted thinking, lies, secrecy, and self-destruction—all the earmarks of an addictive disorder. Like food addicts, says Boundy, money addicts fall into two broad categories—overusers and self- deprivers. But variations abound, and the causes and symptoms of each variation make for fascinating reading. The compulsive ``image shopper,'' for example, is ``trying to be seen.'' The compulsive bargainer is making a power play. Some compulsive spenders are ``getting rid of their money'' the way a bulimic gets rid of food; others are consuming to the verge of unconsciousness, like gluttons. Hoarders excessively fear dependency; underearners excessively fear loss. All these sufferers, the author claims, can find help by following a 12-step program of recovery and by learning to focus on the ``right use of money'' and on ``true wealth,'' which she delineates against the backdrop of ``a money- obsessed culture.'' Credible—and potentially useful to many.

Pub Date: May 1, 1993

ISBN: 0-06-250212-3

Page Count: 256

Publisher: N/A

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 15, 1993

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This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)

Pub Date: Oct. 28, 1996

ISBN: 0-15-100227-4

Page Count: 136

Publisher: Harcourt

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Aug. 15, 1996

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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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