Like The Friday Book (1984), a collection of eclectic and irregularly insightful essays by the noted novelist—an admixture of reminiscence, manifesto, and review. Barth devotes one day a week to writing essay-lectures on such favorite topics as literary forms, traditions, and styles; the Chesapeake Bay area; his own books; or all those subjects at once in "a kind of thinking out loud [or] teaching oneself." Throughout these discursive pieces, the writer links his ideas loosely with his literary touchstones: Scheherazade, Don Quixote, Borges, Garcia Marquez, and the inconclusive, contested definiendum "postmodernism." His professionally well told memoirs of his second wife's profession ("Teacher") and his encounters with Borges are shot through with both incidental allusions and in-depth references, as are his idiosyncratic critical pieces, ranging from the aesthetic merits of the Chesapeake local arts and crafts to a concentrated reading of "Jack and Jill" and a consideration of Poe's gruesome genre effects in The Narrative of Arthur Gordon Pym. '4' Lectures: The Stuttgart Seminars on Postmodernism, Chaos Theory, and the Romantic Arabesque'' and a bravura triad on minimalism, maximalism, and the short story skillfully interweave all the sources and concerns of Barth's shorter, unrelated essays. Some of his comparisons are highly inventive (for example, the similarities among postmodernist referentialism, chaotic feedback, and the repetitive patterns of Persian carpets, together with their parallels in literature), but they tend to lack, or avoid, a conclusion. If this noncommittal reflex handicaps the writer's scrappy mini-manifestos against creative writing programs and realism ("Very Like an Elephant"), it keeps his discussions of storytelling clear and effective. A dilettante par excellence, Barth has read intelligently and indiscriminately enough to have something interesting to say at almost any time.

Pub Date: Aug. 14, 1995

ISBN: 0-316-08324-0

Page Count: 384

Publisher: Little, Brown

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: May 15, 1995

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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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