An absorbing, evocative meditation on a road seldom traveled.

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A DREAM OF EVEREST

An American couple on a hike through the Himalayas endure more hardship and self-scrutiny than they bargained for in this travelogue.

Neuhaus, a successful psychotherapist, and his wife Olga decide to fulfill his boyhood dream of seeing Mount Everest not by climbing it but by joining a package tour to a nearby spot in the Nepalese foothills with a glorious view of the peak. The company assures them that they would follow well-worn trails with ten other tourists, two guides and plenty of Sherpas to assist them, but the 19-day trek to 18,000 feet and back is still no walk in the park for two people pushing 60. The culture shock alone almost kills them: the filth, eye-popping poverty and primitive sanitation of Nepal; the appalling cuisine in back-country Sherpa inns (“I couldn’t believe that food could be so bad,” Neuhaus marvels after a serving of pudding that seems made from wall paper paste); the baffling and “fairly depressing” rituals at a local Buddhist monastery. Then there are the physical perils of grueling marches, yaks that almost trample them on six-foot-wide mountain tracks and the debilitating effects of altitude sickness. “I cursed [the tour promoters] repeatedly for encouraging us to undertake this trek,” the author seethes as his exhaustion and shame at his flagging pace mount. Fortunately, his training as a psychologist enables Neuhaus to see past his frazzled emotions and glean more measured insights on the importance of accepting one’s limitations, adjusting to the inevitable, valuing the effort as well as the outcome and opening up to new things without prejudging them. Neuhaus’ plainspoken but vivid prose also conveys the compensating delights of the trip: the austere beauty of the landscape, the graciousness of the Nepalese and the blessings of a warm sleeping bag after a hard day’s walk.

An absorbing, evocative meditation on a road seldom traveled.

Pub Date: July 18, 2008

ISBN: 978-0595617623

Page Count: 216

Publisher: iUniverse

Review Posted Online: Nov. 1, 2010

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DEAR MR. HENSHAW

Possibly inspired by the letters Cleary has received as a children's author, this begins with second-grader Leigh Botts' misspelled fan letter to Mr. Henshaw, whose fictitious book itself derives from the old take-off title Forty Ways W. Amuse a Dog. Soon Leigh is in sixth grade and bombarding his still-favorite author with a list of questions to be answered and returned by "next Friday," the day his author report is due. Leigh is disgruntled when Mr. Henshaw's answer comes late, and accompanied by a set of questions for Leigh to answer. He threatens not to, but as "Mom keeps nagging me about your dumb old questions" he finally gets the job done—and through his answers Mr. Henshaw and readers learn that Leigh considers himself "the mediumest boy in school," that his parents have split up, and that he dreams of his truck-driver dad driving him to school "hauling a forty-foot reefer, which would make his outfit add up to eighteen wheels altogether. . . . I guess I wouldn't seem so medium then." Soon Mr. Henshaw recommends keeping a diary (at least partly to get Leigh off his own back) and so the real letters to Mr. Henshaw taper off, with "pretend," unmailed letters (the diary) taking over. . . until Leigh can write "I don't have to pretend to write to Mr. Henshaw anymore. I have learned to say what I think on a piece of paper." Meanwhile Mr. Henshaw offers writing tips, and Leigh, struggling with a story for a school contest, concludes "I think you're right. Maybe I am not ready to write a story." Instead he writes a "true story" about a truck haul with his father in Leigh's real past, and this wins praise from "a real live author" Leigh meets through the school program. Mr. Henshaw has also advised that "a character in a story should solve a problem or change in some way," a standard juvenile-fiction dictum which Cleary herself applies modestly by having Leigh solve his disappearing lunch problem with a burglar-alarmed lunch box—and, more seriously, come to recognize and accept that his father can't be counted on. All of this, in Leigh's simple words, is capably and unobtrusively structured as well as valid and realistic. From the writing tips to the divorced-kid blues, however, it tends to substitute prevailing wisdom for the little jolts of recognition that made the Ramona books so rewarding.

Pub Date: Aug. 22, 1983

ISBN: 143511096X

Page Count: 133

Publisher: Morrow/HarperCollins

Review Posted Online: Oct. 16, 2011

Kirkus Reviews Issue: Aug. 1, 1983

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WHAT A WONDERFUL WORLD

A LIFETIME OF RECORDINGS

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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