Oates’ view of art as mystic experience produces a rigid, constrictive framework for analysis that discriminates against individualism, personality, and the romantic tradition.  “Art,” she contends, “is the sacralizing of its subject,” and therefore iconoclasm may be perceived as failure, limitation, or even neurosis.  Much of contemporary poetry and fiction in her opinion is “fixated…upon the childhood fears of annihilation, persecution, the helplessness we have all experienced…”  So much for Robbe-Grillet, Pynchon, Barthelme, Purdy, Barth.  And so much for Sylvia Plath who is “more honest than we would like” anyway.  Alternatively, we have this somewhat overwritten, over-sacralized Lawrentian ideal:  “it was his life’s pilgrimage to break through the confines of the static, self-consuming self in order to experience the unfathomable power that transcended his own knowledge of himself.”  The nine essays in this collection, previously published in prestigious literary journals, also include rather pedestrian commentaries on the later James and Virginia Woolf, Beckett’s trilogy, Flannery O’Connor’s Catholicism, Norman Mailer’s “energetic Manichaenism” (which “forbids a higher art”).  Oates’ last word is on “Kafka’s Paradise” – a Taoistic conception of that tortured genius as not a tragic but a religious writer, non-egoistic and beyond Good and Evil.  As criticism, this is windy sermonizing at the expense of the integrity of art, artist, and the creative process.

Pub Date: Aug. 1, 1974

ISBN: 0814907431

Page Count: 330

Publisher: Vanguard

Review Posted Online: Oct. 2, 2011

Kirkus Reviews Issue: Aug. 1, 1974

Did you like this book?

No Comments Yet


This early reader is an excellent introduction to the March on Washington in 1963 and the important role in the march played by Martin Luther King Jr. Ruffin gives the book a good, dramatic start: “August 28, 1963. It is a hot summer day in Washington, D.C. More than 250,00 people are pouring into the city.” They have come to protest the treatment of African-Americans here in the US. With stirring original artwork mixed with photographs of the events (and the segregationist policies in the South, such as separate drinking fountains and entrances to public buildings), Ruffin writes of how an end to slavery didn’t mark true equality and that these rights had to be fought for—through marches and sit-ins and words, particularly those of Dr. King, and particularly on that fateful day in Washington. Within a year the Civil Rights Act of 1964 had been passed: “It does not change everything. But it is a beginning.” Lots of visual cues will help new readers through the fairly simple text, but it is the power of the story that will keep them turning the pages. (Easy reader. 6-8)

Pub Date: Jan. 1, 2001

ISBN: 0-448-42421-5

Page Count: 48

Publisher: Grosset & Dunlap

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Dec. 1, 2000

Did you like this book?

No Comments Yet



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

Did you like this book?