Savory appetizers that will cause curious readers to order the full 12-course meal.



From the massive 12-volume The Letters of Charles Dickens, editor Hartley (English Literature/Roehampton Univ.; Charles Dickens and the House of Fallen Women, 2008, etc.) selects letters that illuminate the dimensions of Dickens’ mind, the range of his interests and the scale of his moods and passions.

No one will ever write like this again, not in this brave new world of e-mail, emoticons and textual truncation. Dickens was an epistolary phenomenon. He wrote often (thousands of letters), with great fluidity and wit and at great length. In an early, heartbroken letter to a young woman who had dismissed him, he reeled off a 141-word sentence that basically said, “I am returning some things you gave me.” He wrote to the high and the low, to geniuses and wannabes and fans and fools alike. Hartley includes samples of letters to Thomas Carlyle, Robert Browning, William Makepeace Thackeray and Michael Faraday. In an 1862 letter to Wilkie Collins about Collins’ novel-in-progress No Name, Dickens interrupts his praise to teach his friend the difference between “lie” and “lay.” Among responses to pious people wondering why Dickens’ stories weren’t more patently Christian are work-a-day samples of Dickens in his roles as husband, father, writer, editor, friend and colleague. Dickens also wrote to friends about his travels to the United States. During his first visit to our shores in 1842, he was a bit more caustic about us than he was in 1867. Of great interest are his letters about his works-in-progress and his furtive affair with actress Ellen Ternan. Hartley, who reproduces the annotations from the complete edition, wisely stays out of the way and lets her gifted principal command the stage.

Savory appetizers that will cause curious readers to order the full 12-course meal.

Pub Date: March 1, 2012

ISBN: 978-0-19-959141-1

Page Count: 584

Publisher: Oxford Univ.

Review Posted Online: Nov. 28, 2011

Kirkus Reviews Issue: Dec. 15, 2011

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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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Necessarily swift and adumbrative as well as inclusive, focused, and graceful.


A light-speed tour of (mostly) Western poetry, from the 4,000-year-old Gilgamesh to the work of Australian poet Les Murray, who died in 2019.

In the latest entry in the publisher’s Little Histories series, Carey, an emeritus professor at Oxford whose books include What Good Are the Arts? and The Unexpected Professor: An Oxford Life in Books, offers a quick definition of poetry—“relates to language as music relates to noise. It is language made special”—before diving in to poetry’s vast history. In most chapters, the author deals with only a few writers, but as the narrative progresses, he finds himself forced to deal with far more than a handful. In his chapter on 20th-century political poets, for example, he talks about 14 writers in seven pages. Carey displays a determination to inform us about who the best poets were—and what their best poems were. The word “greatest” appears continually; Chaucer was “the greatest medieval English poet,” and Langston Hughes was “the greatest male poet” of the Harlem Renaissance. For readers who need a refresher—or suggestions for the nightstand—Carey provides the best-known names and the most celebrated poems, including Paradise Lost (about which the author has written extensively), “Kubla Khan,” “Ozymandias,” “The Charge of the Light Brigade,” Wordsworth and Coleridge’s Lyrical Ballads, which “changed the course of English poetry.” Carey explains some poetic technique (Hopkins’ “sprung rhythm”) and pauses occasionally to provide autobiographical tidbits—e.g., John Masefield, who wrote the famous “Sea Fever,” “hated the sea.” We learn, as well, about the sexuality of some poets (Auden was bisexual), and, especially later on, Carey discusses the demons that drove some of them, Robert Lowell and Sylvia Plath among them. Refreshingly, he includes many women in the volume—all the way back to Sappho—and has especially kind words for Marianne Moore and Elizabeth Bishop, who share a chapter.

Necessarily swift and adumbrative as well as inclusive, focused, and graceful.

Pub Date: April 21, 2020

ISBN: 978-0-300-23222-6

Page Count: 304

Publisher: Yale Univ.

Review Posted Online: Feb. 9, 2020

Kirkus Reviews Issue: March 1, 2020

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