A short and intensely autobiographical debut guide combines inspirational talks and a faith memoir.
George Gilmour and Becky Gilmour weight their concise account of their faith journey with ample stories from their own lives, starting with the sudden death of their little daughter, Stephanie, in an accident. That tragedy prompted painful days and, eventually, a hard-won kind of acceptance: “We are protected and shielded from the effects of the storm, just not from all of it. The rain falls on the good and the bad, and the drought comes to the righteous and unrighteous.” The authors’ narrative alternates in just this way between personal accounts and broader spiritual teaching moments; they'll tell a tale about their daily lives and then shift to traditional inspirational passages. “We must stop focusing on and rehearsing our problems,” they write. “Instead, we must focus on the promises of God, and on pursuing our dreams and keeping a positive attitude.” As a couple, they have many times put their whole trust in God’s plan for their lives, as when they decided to pack up their belongings and move from Southern California to Austin, Texas, or in how they respond to health and financial setbacks. They finish each of their book’s brief chapters with a “Think About It” section of useful discussion questions designed to bring readers into the process of examining their own faith and the way it’s been tested or confirmed by the events of their lives. The highlight of the guide is the clean, bright optimism of the authors, who regularly remind their Christian readers about the all-embracing nature of their religion. “Whatever you are going through, you may be assured that God is there, and He has not forsaken you,” they write. “God is both God of the mountains and God of the valleys. He is God when the bank account is full and God when it is empty. He is God when we are healthy, and He is God when we are ill.” It’s a lucid and heartfelt message that their Christian readers should appreciate.
A highly personal and ultimately uplifting faith manual.
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)