A crazy quilt with some nice patches.



In this anthology of poetry and prose by a self-consciously multicultural mix of authors, we are treated to stories, poems, and an introduction by novelist Danticat (The Farming of Bones, 1998, etc.). The first two sentences of Isabel Allende’s “Evangelina” set the tone: “At twelve o’clock noon Evangelina fell back on the bed. Her body trembled and a deep long moan, like a love call, ran through her.” Most of the other pieces are of equal intensity. Lois Ann Yamanaka’s description of a church service; Ifeona Fulani’s short story about Precious, who never wanted more than to go to the beach with a boy on the weekends; Walter Mosley’s description of interoffice mail worker Mona Donelli; Sherman Alexie’s tale about Spokane Indians and salmon; Robert Antonio’s “nasty story” of “How Crab-o Lost His Head.” These authors can turn a phrase, but one wishes, for variety’s sake, that the editor had looked farther afield than the New Yorker and Harper’s for fiction. The poetry is on a par with the prose. The most noteworthy poem is Ai’s “Charisma: A Fiction,” which evokes sex, God, and the apocalypse: “I absolved myself between a woman’s thighs / and I arose like Lazarus.”

A crazy quilt with some nice patches.

Pub Date: Oct. 1, 2000

ISBN: 0-8070-6244-8

Page Count: 256

Publisher: Beacon

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Sept. 1, 2000

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Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...



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").

Pub Date: May 15, 1972

ISBN: 0205632645

Page Count: 105

Publisher: Macmillan

Review Posted Online: Oct. 28, 2011

Kirkus Reviews Issue: May 1, 1972

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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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