Close readers of Shakespeare will respect Scarry’s arduous homework but likely won’t be convinced by her conclusions.

READ REVIEW

NAMING THY NAME

CROSS TALK IN SHAKESPEARE'S SONNETS

Who was the “young man” William Shakespeare addressed in his sonnets?

That’s the never-ending mystery wide-ranging literary scholar Scarry (Aesthetics and General Theory of Value/Harvard Univ.; Thermonuclear Monarchy: Choosing Between Democracy and Doom, 2014, etc.) sets out to resolve in her latest book. The list of contenders is already long, but Scarry comes up with a new one: Shakespeare’s contemporary Henry Constable. The author theorizes that the sonnets are, actually, only part of a conversation between the poets, who left cryptic mash notes to each other in their work. Her proof mostly amounts to highly imaginative, and sometimes unintentionally hilarious, code-breaking—such as her discovery that lines of the sonnets have the letters of Constable’s name scattered within them (not sequentially, mind you, just there). Also, a nickname for Henry is Hal, and the sonnets use words like “shall” and “halt”—and sometimes “will” is close by. Also, there’s that last name, and Shakespeare often uses “constancy” or “constant.” Constable’s own poems likewise seem to Scarry to both directly answer his genius friend and leave behind similar anagrams. Beyond the textual argument, there’s the historical possibility that their paths crossed as Elizabethan England was undergoing endless religious conflict; maybe Shakespeare even provided cover to the Catholic Constable, who returned the favor by nursing his beloved through his final illness. As a novel, like Anthony Burgess’ Nothing Like the Sun, or a movie, like Shakespeare in Love, the story has possibilities; as speculative literary detective work, it feels forced. Almost from the beginning, Scarry seems less like the redoubtable polymath of legend—whose past subjects have ranged from torture to critical care to plane crashes—and more like a mad scholar whose delusional literary criticism takes on a life of its own.

Close readers of Shakespeare will respect Scarry’s arduous homework but likely won’t be convinced by her conclusions.

Pub Date: Nov. 29, 2016

ISBN: 978-0-374-27993-6

Page Count: 304

Publisher: Farrar, Straus and Giroux

Review Posted Online: Sept. 8, 2016

Kirkus Reviews Issue: Sept. 15, 2016

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

A LITTLE HISTORY OF POETRY

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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