Despite tangential wanderings, this account offers an important historical perspective on two continuing struggles.

FROM LIBERTY TO MAGNOLIA

IN SEARCH OF THE AMERICAN DREAM

In this debut memoir, a business executive and newspaper columnist recounts her path from a Mississippi farm to high-level positions in the Midwest, contending with racism and gender discrimination.

A black child of the 1950s and ’60s, born and raised on a family-owned farm in the heart of the segregated South, Ellis always knew she was not cut out for rural life. In 1964, at the age of 14, the author found her inspiration and direction from the broadcasts of Eric Sevareid, who was a regular commentator on Walter Cronkite’s CBS Evening News. “Someday, I am going to do what Sevareid does,” she told her mother. Years later, while completing her course work for a doctorate in communication arts, she was introduced to the writings of Walter Lippmann: “Eric Sevareid lit the flame within me to become a political columnist. Walter Lippmann set it ablaze.” Lippmann became the subject of her Ph.D. dissertation. Throughout most of her professional career in business and government, she continued to be a columnist for Milwaukee and Kansas City newspapers and blogs. Ellis married young, while still in college. The union produced two sons, but, according to the author, it soon became abusive and lasted only a few years. Several relationships followed, one of them also abusive. But more than 11 years after her divorce, she tied the knot with a man named Frank, to whom she is still happily married. In her book, enhanced by family photos, Ellis sets her personal battles within the context of the civil rights and feminist movements, both of which helped fuel her determination. She recounts stories of sexual harassment that are especially relevant in today’s #MeToo environment. And the early sections offer striking portraits of segregation, as she recounts cross burnings in front of her house and the murder of a friend’s father who was involved in voter registration. But her academic training sometimes gets in the way of a compelling narrative. A long section detailing the works and philosophies of Lippmann is a distraction from the engrossing personal tale and has the feel of a dissertation presentation.

Despite tangential wanderings, this account offers an important historical perspective on two continuing struggles.

Pub Date: Feb. 13, 2018

ISBN: 978-1-64114-753-8

Page Count: 424

Publisher: Christian Faith Publishing

Review Posted Online: Feb. 28, 2018

Kirkus Reviews Issue: April 15, 2018

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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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DEAR MR. HENSHAW

Possibly inspired by the letters Cleary has received as a children's author, this begins with second-grader Leigh Botts' misspelled fan letter to Mr. Henshaw, whose fictitious book itself derives from the old take-off title Forty Ways W. Amuse a Dog. Soon Leigh is in sixth grade and bombarding his still-favorite author with a list of questions to be answered and returned by "next Friday," the day his author report is due. Leigh is disgruntled when Mr. Henshaw's answer comes late, and accompanied by a set of questions for Leigh to answer. He threatens not to, but as "Mom keeps nagging me about your dumb old questions" he finally gets the job done—and through his answers Mr. Henshaw and readers learn that Leigh considers himself "the mediumest boy in school," that his parents have split up, and that he dreams of his truck-driver dad driving him to school "hauling a forty-foot reefer, which would make his outfit add up to eighteen wheels altogether. . . . I guess I wouldn't seem so medium then." Soon Mr. Henshaw recommends keeping a diary (at least partly to get Leigh off his own back) and so the real letters to Mr. Henshaw taper off, with "pretend," unmailed letters (the diary) taking over. . . until Leigh can write "I don't have to pretend to write to Mr. Henshaw anymore. I have learned to say what I think on a piece of paper." Meanwhile Mr. Henshaw offers writing tips, and Leigh, struggling with a story for a school contest, concludes "I think you're right. Maybe I am not ready to write a story." Instead he writes a "true story" about a truck haul with his father in Leigh's real past, and this wins praise from "a real live author" Leigh meets through the school program. Mr. Henshaw has also advised that "a character in a story should solve a problem or change in some way," a standard juvenile-fiction dictum which Cleary herself applies modestly by having Leigh solve his disappearing lunch problem with a burglar-alarmed lunch box—and, more seriously, come to recognize and accept that his father can't be counted on. All of this, in Leigh's simple words, is capably and unobtrusively structured as well as valid and realistic. From the writing tips to the divorced-kid blues, however, it tends to substitute prevailing wisdom for the little jolts of recognition that made the Ramona books so rewarding.

Pub Date: Aug. 22, 1983

ISBN: 143511096X

Page Count: 133

Publisher: Morrow/HarperCollins

Review Posted Online: Oct. 16, 2011

Kirkus Reviews Issue: Aug. 1, 1983

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