Extraordinary trips; ordinary writing.

READ REVIEW

ROWING TO LATITUDE

JOURNEYS ALONG THE ARCTIC’S EDGE

In unremarkable prose, an intrepid adventurer recounts her rowboat experiences contending with some of the earth’s most beautiful and treacherous waters.

Fredston and her husband have divided lives: In the winters they are avalanche experts and co-directors of the Alaska Mountain Safety Center near Anchorage; in the summers they take extensive trips (in separate craft, sometimes for thousands of miles) on wild waterways. Paddling, says Fredston, is their favorite way to travel: “It allows us to tickle the shoreline, and opens our senses to the rhythms around us.” Fredston begins with a bit of autobiography. For her tenth birthday, she received her first rowboat, and has since used every opportunity to get to the remote waterways of the northern world and advance her considerable skills. She recounts seven long trips (with an interlude about avalanche rescues), the first in 1986 from Seattle to Skagway, Alaska. Then it’s a journey down the entire length of the Yukon River, another in the Chukchi Sea, then down the Mackenzie River and along the coasts of Labrador and Norway, with a final trip in Greenland’s waters. Lots of miles, bears, and high winds for a little volume, and therein lies one of the problems. Each of these trips offers enough material to fill a book, so there’s a pervasive sense of incompleteness, a rush to load another boat and shove it out into the water before we’ve really figured out, or even thought much, about where we are. Pretty soon we don’t care. Fredston cannot resist telling us what wonderful condition she is in, how quickly she learns, how cool she is under fire. She disdains people on cruise ships and those who pollute her playgrounds. But the most serious problem is her writing, which rarely breaks the surface of conventionality: “Most days were a rich collage”; “the country is a study in contrasts”; and so on.

Extraordinary trips; ordinary writing.

Pub Date: Sept. 1, 2001

ISBN: 0-374-28180-7

Page Count: 288

Publisher: Hill and Wang/Farrar, Straus and Giroux

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: July 15, 2001

Did you like this book?

No Comments Yet

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

Did you like this book?

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

A LITTLE HISTORY OF POETRY

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

Did you like this book?

more