Vidal’s gossip can feel as stale as his (very dated) political concerns, but few today have what he still displays in...

THE LAST EMPIRE

ESSAYS 1992-2000

More political and literary essays from Vidal (The Golden Age, 2000, etc.).

Vidal’s style is unmistakable: erudite, contrarian, self-aggrandizing, elegant. Cranky. Never has it been more Vidal-ian than here, in his ninth volume of essays, a collection of pieces written between 1992 and 2000 that occasionally borders on self-parody. By far the strongest works are the literary and historical sketches grouped at the beginning: witty, knowing, insightful, and carefully written, taken together they comprise a prickly tour of the midcentury world of American letters. The last 20 essays are far more problematic, however. In these Vidal rants endlessly about the National Security State and the American Empire, two self-identified postwar political structures that he claims have ruined everything good about America. If one hasn’t read Vidal’s take on these issues before, perusing one of these essays might be fun—but reading 20 of them is not. Although they have different titles and are nominally written on different subjects, the monotony of analysis is numbing. (Plus, it’s hard to take Chicken Little seriously when, after nine volumes, the sky still hasn’t fallen.) But no matter, there are plenty of fireworks in the literary and historical sections—most compellingly, in a wonderful riff on Sinclair Lewis that interlocks with a controversial defense of Charles Lindbergh in an attempt to revive an intriguing pre-WWII American icon: the plainspoken, isolationist, independent hero from the Great Plains. Amazingly, Vidal, for all his namedropping and urbanity, can’t help but see himself in this role. A similarly palpable identification warms, to fascinating effect, the pieces on writers as diverse as Cavafy, Dawn Powell, and Mark Twain. And a merciless attack on Updike is not only provocative but wickedly funny, a flash of the younger Vidal’s dead-on comic sense.

Vidal’s gossip can feel as stale as his (very dated) political concerns, but few today have what he still displays in abundance: the desire, the intelligence, and the wit to continue living as a true man of letters.

Pub Date: June 5, 2001

ISBN: 0-385-50154-4

Page Count: 480

Publisher: Doubleday

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: May 1, 2001

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Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...

THE ELEMENTS OF STYLE

50TH ANNIVERSARY EDITION

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

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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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