An inspirational manual revolves around the concept of wonder in Christianity.
This nonfiction debut concentrates on the wonder of God, first breaking the emotional phenomenon down into four “degrees” or subcategories—curiosity, delight, “his tender presence,” and awe—and then examining each in turn. Wells, who grew up in a religious household and experienced a born-again faith, stresses her desire to communicate these uplifting facets to her readers. “My prayer is that you will remember with joy your own times of wonder,” she writes, “and that you become hungry to find new doorways into delight and spontaneous worship.” This note of the ecstatic, jubilant nature of Christianity is struck repeatedly here and deftly traced through a wide array of sources and allusions, from other contemporary Christian inspirational books to blogs to great literature and art to stories from the author’s own life. The theme is one of unification. Citing St. Paul, Wells urges her fellow Christians to observe that theirs is a shared joy, that the Holy Spirit can unite them in faith if they remain open to the calling. The author herself remains open in the course of her book, often following digressions and whims to see where they’ll take her and how they might reinforce her central messages. At one point she fancies the phrase “love is a many-splendored thing,” looks up its origin on Wikipedia, traces it to a 1950s novel, follows that thread to the movie adaptation starring William Holden and Jennifer Jones, and finally learns that the two stars hated each other. “So much for portraying the splendor of love!” she wryly concludes before smoothly moving on with her main narrative—a relentless series of excited revelations. Each section concludes with useful questions designed to help readers discover those same kinds of visions. The intensely personal tone is ultimately very winning.
A passionate call to recognize and reignite spiritual wonder in the lives of Christians.
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").
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)