An engrossing and thoughtful literary examination.

100 REASONS SHAKE-SPEARE WAS THE EARL OF OXFORD

A book offers an energetic defense of the Earl of Oxford theory regarding the authorship of the plays of William Shakespeare.

In this work about Edward de Vere, the 17th Earl of Oxford, the competing theories—proposing Francis Bacon, Christopher Marlowe, William Stanley, the Earl of Derby, and, of course,  Shakespeare himself—are given their day in court as well. (Indeed, examining and discarding these notions constitutes part of the quite literal 100 reasons presented in the volume.) As the alternative possibilities are explored, Whittemore (Feeling It, 2016, etc.) makes a progressively stronger case for the Earl of Oxford as the sole author of the works of Shakespeare. Beginning in the book’s introduction by questioning how such a seemingly unremarkable man as Shakespeare could demonstrate such near-miraculous genius, Whittemore takes the reader on an intricate journey in scholarship regarding the theater and the Renaissance period. He touches on the first Oxfordian supporter—John Thomas Looney—and builds profiles of the various players in Shakespeare’s world, from Queen Elizabeth I’s chief adviser, Lord Burghley, to her spymaster, Francis Walsingham. During this odyssey, an image of de Vere himself emerges: a brilliant, controversial man and an intimate of Elizabeth’s court with poetry and theater in his blood—an ideal alternative to Shakespeare for reasons ranging from creativity to insight into statecraft. While mainstream academia largely dismisses questions of authorship in studying the works of Shakespeare, Whittemore strongly champions the Oxfordian argument in this tour de force defense while remaining a highly entertaining writer. A breezy but very intelligent tone is maintained throughout the book; the reader is neither patronized nor boggled by minutiae and jargon. Instead, there is a magnetic sense of history, art, politics, and human nature injected into a smooth and eminently readable storytelling style. It is obvious that the author’s research has been painstaking, but the resulting document is more than painless—it’s downright pleasurable. The text itself is immaculate, as one would expect from such a seasoned nonfiction writer and scholar. One may or may not accept the Oxfordian argument, but Whittemore ensures that the reader will never again lightly dismiss it.

An engrossing and thoughtful literary examination.

Pub Date: Oct. 27, 2016

ISBN: 978-0-9835027-7-7

Page Count: 370

Publisher: Forever

Review Posted Online: Dec. 28, 2016

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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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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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