A tragic yet uplifting account of a young man’s spiritual growth despite adversity.



The inspiring true story of a beloved son taken too soon and the life he packed into his 33 years.

As devout Christians, the Chapmans don’t believe in coincidences but rather in miracles, many of which are detailed in this biographical tribute to Chad Chapman. His father, Gary, notes the many similarities between his son, born just two days shy of Christmas, and Jesus’ own challenges and triumphs from birth to death as he searched for, and found, meaning in tragedy. From the moment of his birth, Chad symbolized the miracle of birth and a difficult lesson that “[c]hildren belong to God and are given as gifts to Parents.” Chad’s family soon perceived him as a vehicle for miracles, whether he was healed suddenly and unexpectedly from a malaria-driven coma or rescued from social and spiritual difficulties in high school. Skilled in construction and eventually a successful builder, Chad married Lauren, a woman he chased from Toronto all the way to England. Together, they had two boys, Jonas and Keelan, and involved themselves extensively in the local church. But an intense stomachache in his mid-20s turned out to be cancer of the appendix that had gone undiagnosed and spread to more of his body. Burdened with a dire prognosis, Chad struggled to maintain his faith in God and a cheery disposition as life slipped away from him. He died at the same age that Jesus was crucified, and in this, and in many other ways, Chad’s father took comfort that his son carried out God’s wishes. Filled with photographs and memories, Chad’s story is one of determination, tenacity and faith. As told by his father, this account isn’t only of Chad’s accomplishments and strength of character throughout his short life; it’s also about the lessons he left behind for his family to learn. Chad’s work ethic, honesty and commitment to God inspired each of his siblings as well as his parents, and this is the legacy he left behind. By documenting Chad’s short but full life, his father allows for more than just sadness in the aftermath of his loss. Celebrating life and its challenges, the poignant collection of anecdotes and lessons paints a picture of an admirable and courageous family finding strength in the harshest of challenges.

A tragic yet uplifting account of a young man’s spiritual growth despite adversity.

Pub Date: Sept. 11, 2014

ISBN: 978-1499010466

Page Count: 188

Publisher: Xlibris

Review Posted Online: Nov. 24, 2014

Kirkus Reviews Issue: Jan. 15, 2015

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


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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