An engaging success story that’s steeped in Korean history.




Debut memoirist Choi recounts a memorable journey from poverty in war-torn Korea to entrepreneurial success in the United States.

The author was born in China in 1942, but raised in Seoul during a time of extraordinary political unrest. He was only 8 years old when the Korean War erupted, cleaving the nation in half. The same year, his father, Choi Hyungwoo—an activist, author, and journalist who had once agitated for Korean independence from Japan with future North Korean dictator Kim Il Sung—was arrested and never seen by his family again; the family thought that he might have been taken to North Korea and executed, but they weren’t certain. The author’s mother, Yoo Taejung, struggled to care for Choi and his siblings on her own, and fled Seoul with them due to fear for their safety. The author movingly documents his relentless drive for success, noting how he earned a degree in political science from Korea University, moved to Portland, Oregon, in 1969, on a quest for new opportunities, and finally started his export company, K-C International. He achieved impressive things against considerable odds, both as a businessman and as a family man; he married his wife, Hahn Myungki, whom he calls his “soulmate,” in Portland, fathered three daughters, and eventually brought his mother and sister to the United States, as well. In 1993, the North Korean government officially invited the family to Pyongyang, where they met two long-lost half brothers. Choi dined with Kim Il Sung himself, but was largely soured by his experience; he was also appalled by the combination of political oppression and poverty in the country: “As a Korean descendant, I could not bear to witness the peculiar and horrifying phenomena of North Korea’s system of government.” The author’s life is cinematically dramatic, and his accomplishments come off as all the more admirable, given his tone of humility in this memoir. His prose is clear and unembellished, but his story is powerful enough to be inspiring without any poetical adornment. Overall, Choi’s work seamlessly combines astute political commentary with a stirring remembrance of his own personal triumphs.

An engaging success story that’s steeped in Korean history.

Pub Date: July 21, 2019

ISBN: 978-0-578-48376-4

Page Count: 338

Publisher: EdgeWise Publishing

Review Posted Online: Oct. 15, 2019

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Possibly inspired by the letters Cleary has received as a children's author, this begins with second-grader Leigh Botts' misspelled fan letter to Mr. Henshaw, whose fictitious book itself derives from the old take-off title Forty Ways W. Amuse a Dog. Soon Leigh is in sixth grade and bombarding his still-favorite author with a list of questions to be answered and returned by "next Friday," the day his author report is due. Leigh is disgruntled when Mr. Henshaw's answer comes late, and accompanied by a set of questions for Leigh to answer. He threatens not to, but as "Mom keeps nagging me about your dumb old questions" he finally gets the job done—and through his answers Mr. Henshaw and readers learn that Leigh considers himself "the mediumest boy in school," that his parents have split up, and that he dreams of his truck-driver dad driving him to school "hauling a forty-foot reefer, which would make his outfit add up to eighteen wheels altogether. . . . I guess I wouldn't seem so medium then." Soon Mr. Henshaw recommends keeping a diary (at least partly to get Leigh off his own back) and so the real letters to Mr. Henshaw taper off, with "pretend," unmailed letters (the diary) taking over. . . until Leigh can write "I don't have to pretend to write to Mr. Henshaw anymore. I have learned to say what I think on a piece of paper." Meanwhile Mr. Henshaw offers writing tips, and Leigh, struggling with a story for a school contest, concludes "I think you're right. Maybe I am not ready to write a story." Instead he writes a "true story" about a truck haul with his father in Leigh's real past, and this wins praise from "a real live author" Leigh meets through the school program. Mr. Henshaw has also advised that "a character in a story should solve a problem or change in some way," a standard juvenile-fiction dictum which Cleary herself applies modestly by having Leigh solve his disappearing lunch problem with a burglar-alarmed lunch box—and, more seriously, come to recognize and accept that his father can't be counted on. All of this, in Leigh's simple words, is capably and unobtrusively structured as well as valid and realistic. From the writing tips to the divorced-kid blues, however, it tends to substitute prevailing wisdom for the little jolts of recognition that made the Ramona books so rewarding.

Pub Date: Aug. 22, 1983

ISBN: 143511096X

Page Count: 133

Publisher: Morrow/HarperCollins

Review Posted Online: Oct. 16, 2011

Kirkus Reviews Issue: Aug. 1, 1983

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Necessarily swift and adumbrative as well as inclusive, focused, and graceful.


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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