Stories of predatory military expansion, captivity and bondage, and religious mission, the characteristic forms of travel before the advent of modern tourism. Historian Leed (Florida International Univ.; The Mind of the Traveler, 1991) has a simple point to make: Travel in the premodern world was fundamentally different from travel in the modern world. We now associate travel with freedom and self-realization, but premodern travelers thought of it in terms of conquest, mission, or duty. He illustrates his point with a series of stories about premodern predatory military expeditions, early modern missionaries, and modern traveling. Leed's clear and forceful tales of missionaries are much stronger than his stories of trading voyages and tourism. He avoids the temptation to treat missionaries as figures of fun or as sinister bearers of Western cultural imperialism. Instead he portrays them as complicated ``cultural entrepreneurs'' engaged in encounters of mutual exchange with the people they wish to convert. He dates the expansionary character of Christianity to the Crusades, and has a strong grasp of the fundamental contrast between the Roman Catholic missions of the early modern period and the Protestant missions of the 19th century, which were based firmly on the need for voluntary consent rather than government coercion. Leed is committed to thinking of history as either ``premodern'' or ``modern,'' but it is a distinction that does not always work. There are flourishing forms of travel in the ``modern'' world that fit his definition of ``premodern'': illegal immigration, bonded servitude in sweatshops, the international traffic in prostitution, mass expeditions of refugees, and ever-growing numbers of missionaries. A travel book with a difference, Shores of Discovery revises the way we think about encounters between the Western and the non- Western worlds.

Pub Date: Nov. 22, 1995

ISBN: 0-465-02096-8

Page Count: 320

Publisher: Basic

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Sept. 15, 1995

Did you like this book?

No Comments Yet

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

Did you like this book?



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

Did you like this book?