A celebration of eating well and drinking even better as a recipe for the good life.
This posthumous collection of food pieces (very broadly defined) by the award-winning novelist serves as a sequel of sorts to The Raw and the Cooked (2001), which documented his insatiable hunger for food, from the mundane to the exotic to the exquisite, and so much more. The linchpin of a collection that holds together surprisingly well is the title piece that he wrote for the New Yorker in 2004, an essay that scandalized some readers in its embrace of excess. “Is there an interior logic to overeating, or does gluttony, like sex, wander around in a messy void, utterly resistant to our attempts to make sense of it?” he wonders. “Not very deep within us, the hungry heart howls, ‘Supersize me!’ ” Some of the other essays also reference this piece, in its vivid description of its 37 courses, along with his ironic complaint that only 19 wines accompanied it. He later writes, “I have often thought that if I received an early warning that I would pass on sooner than later, I’d get myself to Lyon and eat for a solid month, after which they could tip me from a gurney into the blessed Rhone. Maybe I’d swim all the way downstream to Arles for my last supper.” In the latter half of the collection, Harrison proceeds through just the kind of extended warning that the author had suggested, with the thoughts on the way he has lived his life underscored by the ravages he is experiencing. Along the way, the author waxes wickedly funny over matters of art, politics, spirituality, sex, and the commingling of all of them. His advice: “Your meals in life are numbered and the number is diminishing. Get at it.”
If this is the last we get from Harrison, it serves as a fitting memorial.Pub Date: March 24, 2017
ISBN: 978-0-8021-2646-7
Page Count: 272
Publisher: Grove
Review Posted Online: Jan. 10, 2017
Kirkus Reviews Issue: Feb. 1, 2017
Categories: GENERAL NONFICTION
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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
Categories: GENERAL NONFICTION
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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
Categories: GENERAL NONFICTION
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