A bravura history of the House of Steinway, whose name has remained synonymous with fine pianos for well over a century. Drawing on previously untapped records and private papers as well as secondary sources, Fostle, a journalist and documentary filmmaker, provides an absorbing generation-spanning account of a German-American family that earned fame and fortune in the New World. At the heart of the exhaustively detailed narrative is the story of William Steinway (nÇ Steinweg) who, in 1871 at the age of 35, took control of the family's 18-year-old Manhattan-based firm. With technical assistance from brother Theodore, the enterprising William showcased the immensely profitable company's prize-winning instruments in concert halls and secured the endorsement of world- class artists like Ignacy Jan Paderewski. An imaginative industrialist and prominent civic figure, he was less successful in his personal life, plagued by marital unhappiness and rheumatoid arthritis. Despite a tradition of fractious labor relations, the multinational concern prospered well into the 20th century under the stewardship of the maestro's less aggressive heirs— ``custodians, not architects,'' Fostle calls them. Over time, though, wars, a global depression, imports, and rapid changes in the state of the entertainment art (the pianola, radio, TV) took a steady toll. By 1972, CBS Inc. had acquired the much diminished firm, only to sell it off in the 1980s for the mercantile equivalent of a song. The buyers—a group of arguably unmusical MBAs—have not fared all that well with their leveraged purchase, in part because the vast majority of the roughly 200,000 Steinway grands built in the US during the past 100 years play as well as a new piano fresh from the factory. Fostle occasionally offers tedious particulars on the auditory afflictions of supporting players and other curiosities on which his research has shed light. This cavil apart, a gloriously complete chronicle of a dysfunctional dynasty whose renown has long since outlived its actual participation in the music trades.
Pub Date: May 1, 1995
ISBN: 0-684-19318-3
Page Count: 720
Publisher: Scribner
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 15, 1995
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. 8, 2020
Kirkus Reviews Issue: March 1, 2020
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
An extraordinary true tale of torment, retribution, and loyalty that's irresistibly readable in spite of its intrusively melodramatic prose. Starting out with calculated, movie-ready anecdotes about his boyhood gang, Carcaterra's memoir takes a hairpin turn into horror and then changes tack once more to relate grippingly what must be one of the most outrageous confidence schemes ever perpetrated. Growing up in New York's Hell's Kitchen in the 1960s, former New York Daily News reporter Carcaterra (A Safe Place, 1993) had three close friends with whom he played stickball, bedeviled nuns, and ran errands for the neighborhood Mob boss. All this is recalled through a dripping mist of nostalgia; the streetcorner banter is as stilted and coy as a late Bowery Boys film. But a third of the way in, the story suddenly takes off: In 1967 the four friends seriously injured a man when they more or less unintentionally rolled a hot-dog cart down the steps of a subway entrance. The boys, aged 11 to 14, were packed off to an upstate New York reformatory so brutal it makes Sing Sing sound like Sunnybrook Farm. The guards continually raped and beat them, at one point tossing all of them into solitary confinement, where rats gnawed at their wounds and the menu consisted of oatmeal soaked in urine. Two of Carcaterra's friends were dehumanized by their year upstate, eventually becoming prominent gangsters. In 1980, they happened upon the former guard who had been their principal torturer and shot him dead. The book's stunning denouement concerns the successful plot devised by the author and his third friend, now a Manhattan assistant DA, to free the two killers and to exact revenge against the remaining ex-guards who had scarred their lives so irrevocably. Carcaterra has run a moral and emotional gauntlet, and the resulting book, despite its flaws, is disturbing and hard to forget. (Film rights to Propaganda; author tour)
Pub Date: July 10, 1995
ISBN: 0-345-39606-5
Page Count: 432
Publisher: Ballantine
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 1, 1995
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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