Although the Armstrong character—a macho man with a laudable mission—occasionally calls to mind a comic-book superhero,...

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THE SEEKERS

A BOUNTY HUNTER’S STORY

The street-savvy founder of the Seekers (a group of bounty hunters who see their mission as not just finding men who have skipped bail but saving their souls as well) briskly recounts his own life and the work of his unique organization.

When Armstrong, a self-educated African-American from Elizabeth, New Jersey, captures a fugitive at home, he leaves a copy of a 17th-century prayer behind to comfort the man's family, and when new members join the Seekers, they must take up both rigorous physical training and the reading of ancient Egyptian philosophy. Armstrong's memoirs, written with the assistance of crime writer Bruno (The Iceman, 1993, etc.), are fast-paced and packed with gritty detail about what bounty hunters do and how they do it in an ugly, dirty, drug-ridden, and dangerous world. Armstrong left New Jersey after high school, became a fisherman in Alaska, and, in the off-season, learned first-hand how not to catch a fugitive and then picked up the basics of the trade. Influenced by New Age bookstore owner Kanya McGee, he became interested in self-improvement through meditation and the study of Eastern philosophy, taking as his goal to become "a stellar man in a world that desperately needs stellar men." When he returned to New Jersey in the 1980s, he developed the idea of a bounty hunting operation that would "combine compassion and street smarts." While there's ample technical data about the surveillance and protective equipment and the arms that the Seekers carry with them, it is their mode of operation that fascinates. The cases described emphasize intelligence gathering, planning, patience, cool nerves, and teamwork rather than gunslinging; in fact, only once has Armstrong fired his gun during an arrest. His Seekers now hunt fugitives only to fund Earth Church, a center for spiritual, mental, and physical growth.

Although the Armstrong character—a macho man with a laudable mission—occasionally calls to mind a comic-book superhero, Million Man March supporters should find this agreeable reading.

Pub Date: Aug. 1, 2000

ISBN: 0-06-19343-3

Page Count: 336

Publisher: HarperCollins

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: July 1, 2000

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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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