MAIN JUSTICE

THE MEN AND WOMEN WHO ENFORCE THE NATION'S CRIMINAL LAWS AND GUARD ITS LIBERTIES

A lively and highly informative look at the modern Justice Department's criminal division, by two veteran Washington reporters. Most Americans see the Justice Department and its nationwide corps of lawyers and law-enforcement agents through the unflattering lens of highly public scandals like the Aldrich Ames affair. McGee (an investigative reporter at the Washington Post) and Duffy (investigations editor at U.S. News & World Report) are clearly out to reverse that perception by showing the dedicated people within the organization. Throughout, they offer larger-than-life profiles of officials, like longtime federal prosecutor David Margolis and the department's ethical watchdog Mary Lawton. The book sometimes threatens to get bogged down in these portraits of officials, to whom the authors are at times overly deferential, but they rescue themselves by chronicling several important anti-drug and -violence campaigns. These episodes, including the war against the Cali Drug Cartel, and the undercover operation against the Bottoms Boys, a ruthless gang based in Shreveport, La., read like real-life thrillers. Ultimately, the authors have a more important agenda: examining the ``price of power'' and demonstrating that the Justice Department, like any other large organization, ``is not immune to excessive zeal, personal ambition or political malice.'' To illustrate that point, later chapters describe the ill-fated battle against pornography distributors, waged for political purposes by the Reagan administration, and the case against Ames, nearly compromised by an FBI investigation that may have overstepped constitutional boundaries. One particularly complex tale recalls the bungled prosecution of Miami S&L lawyer Kenneth Treadwell; general readers may find the legal maneuvers here difficult to follow. Still, in the end the authors have skillfully portrayed a Justice Department that is intrinsically honest, but plagued by growing pains as it struggles to adapt to new threats and rules.

Pub Date: July 19, 1996

ISBN: 0-684-81135-9

Page Count: 384

Publisher: Simon & Schuster

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: May 15, 1996

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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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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

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