Anyone who has ever been owned by a cat will find these speculations engaging, finely tuned, and always with plenty of fond...



An exploration into the emotional complexity of cats, with lots of literary references but mostly personal observations, from Masson (Why Elephants Weep, 1995, etc.).

What Masson did for dogs in Dogs Never Lie About Love (1997), he does here for cats. As always when considering animal behavior, he admits from the get-go that he’s on sketchy ground, making speculations that are intended as food for thought: “We will probably never know what goes through their minds.” There are times when readers may wonder why he chose these “primary” emotions to investigate—narcissism, love, contentment, attachment, jealousy, fear, anger, curiosity, playfulness, and a dozen subsidiary states—when he is confounded by a few of them: “Are cats narcissistic? No.” Or “Is this jealousy, or is it perhaps some feline rule of etiquette?” But then, much of the time cats are nothing if not inscrutable, as Masson is happy to admit. Their mystery is much of their charm. Yet it’s Masson’s purpose to offer up considerations of cat behavior. Is their attachment a transference—a nostalgia—for the time when they were kittens? And when it comes to attachment, is it more to the world around them than to their human companions? (Masson believes cats are more fully happy when allowed freedom to roam, a point he presents persuasively, unlike many cat enthusiasts.) Much of what the author has to say is common sense: that cats show fear out of threat (but don’t worry; they live in the moment); show contentment from a sense of security (but not happiness: that takes freedom); and can communicate acceptance (purring has been known to lower human blood pressure, perhaps because we have been chosen by one so self-possessed).

Anyone who has ever been owned by a cat will find these speculations engaging, finely tuned, and always with plenty of fond anecdotal evidence as they charge across the species barrier.

Pub Date: Nov. 1, 2002

ISBN: 0-345-44882-0

Page Count: 240

Publisher: Ballantine

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Sept. 1, 2002

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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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