Daniel Boone's name has been synonymous with the American frontier ever since a highly colored narrative of his exploits appeared in John Filson's Kentucke (1784)—when Boone was still alive. Here, Faragher (History/Mount Holyoke College) sorts through the public record, reminiscences by Boone's contemporaries and descendants, and surviving fragments in Boone's own hand to draw a convincing portrait of the man and his times. As his subtitle suggests, Faragher recognizes that the myth is as big as the man himself, and he devotes considerable energy to tracing its growth. While hardly a debunker, Faragher is quick to point out discrepancies between the legend and the historical record—for example, Boone's own claim that he killed no more than three men during his entire life strongly contradicts his posthumous reputation as an Indian fighter. The multiplicity of Boone relics as well is contrasted to the stark simplicity of the pioneer's actual life. Even the popular image of Boone in a coonskin cap is a latter-day embellishment: Boone actually preferred a Quaker-style beaver hat. Boone's lackadaisical career in politics, his shortcomings as a surveyor, and his failures in land speculation are set in the context of the anarchic early history of Kentucky. The genuine exploits get full coverage here: Boone's dramatic rescue of his daughter from raiding Shawnees; his own capture by Shawnee raiders and his subsequent escape; his role in the defense of Boonesborough in 1778; and his vigorous way of life even in his declining years. Among the surprises are such details as Boone's borrowing from Gulliver's Travels, his favorite book, for a tall tale. Ample quotations in original frontier spelling give Faragher's account extra authenticity. An intriguing study of a central figure in the American imagination. (Eight pages of b&w photographs—not seen.)

Pub Date: Nov. 3, 1992

ISBN: 0-8050-1603-1

Page Count: 320

Publisher: Henry Holt

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Sept. 15, 1992

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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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