“Love. Friendship. Art. Work. These are my values,” Oates says. Watching her juggle them in these replete pages is a...




Tensions between public image and private self are engagingly acknowledged and analyzed in illuminating excerpts from journals begun during the second decade of this prolific author’s remarkable career.

Their emphases are predictable: the flood of writing Oates produced then and now (The Museum of Dr. Moses: Tales of Mystery and Suspense, 2007, etc.); speculations about the nature of the artistic process and the ways in which art has shaped her character and personality; family, friends and colleagues whose empathy and affection anchor her in a vividly experienced, evidently cherished everyday world. Readers who perceive Oates as a workaholic automaton may be surprised to encounter an author who, though formidably successful even this early in her career, felt unworthy of the acclaim lavished on her. Oates waxes rhapsodic about the sustaining pleasures of marriage (to her colleague and soul mate Raymond Smith), domestic routine (she’s a conscientious if unadventurous cook and hostess), her teaching duties and burgeoning friendships with such notable contemporaries as John Updike, Gail Godwin, the late John Gardner and Susan Sontag, Anne Tyler, even the eternally prickly Norman Mailer. It’s nice to know that she derives so much pleasure from teaching Alice in Wonderland to her Princeton students and from the experience of playing the piano and listening to her beloved Chopin. Naturally, she also chronicles her work: stories, poems, essays and reviews completed almost daily (or so it seems); wearying searches for appropriate form and rhetoric for the ambitious novels (The Assassins, Son of the Morning and Angel of Light) that many critics consider her weakest work; and a somewhat surprising commitment to reviving traditional narrative genres in her Gothic Quintet, which includes Bellefleur, A Bloodsmoor Romance and The Crosswicks Horror, the last-named long since completed but as yet unpublished.

“Love. Friendship. Art. Work. These are my values,” Oates says. Watching her juggle them in these replete pages is a stimulating experience.

Pub Date: Oct. 2, 2007

ISBN: 978-0-06-122798-1

Page Count: 512

Publisher: Ecco/HarperCollins

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Aug. 15, 2007

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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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