A sensitive, introspective 5-year-old contemplates the consequences of having a new sibling in Hartzell’s pleasant debut, complemented by Cave’s sweet illustrations.
Young Noah is the most introspective of his siblings. His oldest brother, Jake, looks destined to become an engineer, and his other brother, Zach, is interested in drawing (and messing up Jake’s Lego towers). Noah observes his family in all their everyday rituals and pays close attention. He counts the chairs at the table and decides that, yes, there will be enough chairs when his new baby sibling arrives. He counts the number of places to sit in the living room: Yes, there will be enough, he thinks. He checks with his mother to confirm that there will be enough beds in their house and also counts the number of seats in the family minivan. When his parents go off to the hospital, however, Noah is still worried. What might be in short supply? Parents will likely guess the answer long before their children do: Noah’s worried that his mother might not have enough love for all her children. After giving birth, his mother explains, with a colorful, hand-drawn diagram of a heart, that with each new child, her love has only grown—there’s room for them all. It’s a message that will be particularly comforting for children expecting a new brother or sister. Although the text is dense for a kids’ book, Hartzell does a good job of giving Noah a simple, yet satisfying, answer to his question. The style of Cave’s illustrations is largely realistic, reflecting little of Noah’s anxiety, beyond his pensive expression. Some illustrations are set at strange angles (one looks down at the dining room table from above, for example), but overall, they’re child-friendly and match the story’s calm tone.
A comforting book about welcoming a new baby into the family.
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").
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)