A moving work of memory—focusing on two sisters’ wartime struggles—that helps bridge the wide gulf between childhood and...

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Facing the Shards

A woman looks back on growing up in foster homes in England during World War II.

In this memoir, Mickelson (Our Sons Were Labeled Behavior Disordered: Here Is the Story of Our Lives, 2000) recounts her childhood. Born to a working-class Jewish couple in London, she and her sister, Viv, were moved to the countryside with other children to avoid German bombing. The sisters encountered kindness but also cruelty and anti-Semitism in their foster homes. Their first stay, with a good-natured vicar and his wife, ended abruptly when the vicar suffered a stroke. After spending six weeks across the street in the overcrowded Short residence, the girls moved to another foster home but had to leave when Mickelson contracted scarlet fever. Placed with a couple named the Canns, the sisters were treated like family members until one day they discovered Ma Cann dead in bed. Frightened by their next set of elderly foster parents, they ran away. After their billeting officer caught up with them, they stayed with a family whose mother hit and yelled at them, hollering, “That’s enough, you little kike!” at Mickelson when she wouldn’t eat bubble and squeak that “smelt like manure.” Following her expulsion from school, Viv returned to her parents. Mickelson eventually followed. But the sisters reunited only to have their mother die suddenly. Pondering anti-Semitism and their faith, Viv concluded: “Accept the fact that you’re a Jew and that everyone hates you.” Mickelson has written a stirring account of her childhood. The book is especially poignant because it’s written from the viewpoint of a child who can’t understand the purportedly rational adult world and grown-ups’ conceits and prejudices. The author’s particularly adept at description, whether reminiscing about eating wild mushrooms that “smelled of the fields and the sun” or the many characters who people this memoir, such as her sex-starved spinster Aunt Mimi, who wore a see-through pink organdy skirt, made lascivious remarks about the men around her, and ended up in a psychiatric facility. Capturing the quirks, kindness, and cruelty of her foster families, Mickelson delivers a sadly realistic personal account of life in England during the war and of the anti-Semitism that pervaded that country even as it fought Nazi Germany.

A moving work of memory—focusing on two sisters’ wartime struggles—that helps bridge the wide gulf between childhood and adulthood.

Pub Date: June 6, 2016

ISBN: 978-0-9891634-7-7

Page Count: 190

Publisher: FYD Media

Review Posted Online: Sept. 6, 2016

Kirkus Reviews Issue: Oct. 15, 2016

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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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