A fresh and realistic depiction.



Australian biographer Rowley (Christina Stead, 1994) offers an insightful look at the African-American cultural icon and iconoclast.

Best known for his novel Native Son (1940) and his autobiography Black Boy (1945), Wright was a Mississippi sharecropper’s son, born near Natchez in 1908. His father abandoned the family for another woman, forcing them into extreme poverty, and Richard was placed in an orphanage for a time before being shipped off to Jackson to live with his grandmother (who tried to break him of his writing aspirations and other “soul-defiling habits”). Chicago became Wright’s Promised Land—until he actually moved there when he was 19. Segregation was in full flower at the time, and the young author found he was only welcome in the miserable South Side ghetto. He managed to secure a job with the post office and then worked for the Federal Writers’ Project, first in Chicago and then in New York. He read voraciously and wrote, publishing his first story, “Superstition,” in 1931. Rowley presents him as less single-minded and serious than other accounts, however, drawing on Wright’s packrat trove of first drafts, appointment books, bills, letters, photographs, and newspaper clippings. She posits the reasonable theory that the great attraction communism held for Wright (and for other black authors such as Ralph Ellison and Langston Hughes) was the Party’s acceptance of blacks as intellectual equals. Wright became the Harlem editor of the Daily Worker in 1937, and he married white Party member Ellen Poplar four years later. He eventually broke with the Party over its conformist ideologies and moved with his family to Paris after WWII. There he wrote two more novels, several long political and sociological works, another collection of short stories, a second memoir, and 4,000 haikus before his death in 1960.

A fresh and realistic depiction.

Pub Date: Aug. 14, 2001

ISBN: 0-8050-4776-X

Page Count: 608

Publisher: Henry Holt

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: June 1, 2001

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



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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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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