A unique historical testimony.

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A GERMAN OFFICER IN OCCUPIED PARIS

THE WAR JOURNALS, 1941-1945

The wartime notes of a German officer and writer.

In 1920, Jünger (1895-1998), who had emerged from World War I as a decorated hero, published Storm and Steel, recounting his experiences as exhilarating and the war itself as mythic. As historian Elliot Neaman writes in an informative foreword, the book and subsequent essays “established Jünger’s reputation as one of Germany’s foremost authors of the war generation.” As the Nazis rose to power, Jünger found himself opposed to their racist views and refused to become involved in Nazi politics. Nevertheless, he served as an officer throughout World War II; in 1941, he was posted to occupied Paris. Jünger’s war journals convey in sensuous, lyrical—yet often chillingly detached—prose daily life in the French capital as well as dire conditions along the Eastern Front between Germany and Russia and the privations his wife and family endured at home in Germany. In the journals of 1941, the war seems far off, except when Jünger hears bombs burst in the distance or is required to witness executions. “My first inclination was to report in sick,” he admits, “but that seemed cheap to me. Furthermore, I thought to myself: maybe it is better that you are present rather than someone else.” Through these journals, we see Jünger consorting with resistors and collaborators, intellectuals and artists, drinking champagne, dining in sumptuous restaurants, and accompanying other officers to nightclubs, where naked women perform. Wandering around the city, he combs through antiquarian bookshops, stops in at galleries, discusses literature with friends, and acutely observes plants and flowers change with the seasons. He recounts in detail his dreams, nightmares, and musings on war and the “moral passivity typical of modern man.” He characterizes Hitler as a madman and his followers as complicit in a cult of hatred and tyranny. As the Allies prevail, however, he sees that success “is making them ruthless” and vengeful, deepening his condemnation of war.

A unique historical testimony.

Pub Date: Dec. 18, 2018

ISBN: 978-0-231-12740-0

Page Count: 496

Publisher: Columbia Univ.

Review Posted Online: Sept. 17, 2018

Kirkus Reviews Issue: Oct. 1, 2018

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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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