In a memoir/essay collection, poet Mullen (Director, Creative Writing/Louisiana State Univ.; Enduring Freedom, 2012, etc.) explores emotional secrets and rupture.
The inability to pin down meaning in words reflects the slippery grasp of identity, and Mullen delves into “autobiography” in these brief, truncated sections, which are playful with language but often opaque. The entries evolve from the first sections’ dreamlike collision of the real (a car crash, a failed love affair) with the “completely unutterable” to a later essay called “Trust,” which explores with affecting frankness the author’s molestation at age 9 by her fencing instructor (“if I think of him his name comes back…immediately and easily: gliding up like air-filled buoys from an opaque and then translucent depth, flashing to the surface like markers for a wreck or trap, or floats from a storm-torn net”). In several pieces, Mullen reworks fairy tales by breaking down their narrative facets to create some intriguing new manifestations. In “Read,” she drastically tweaks “Little Red Riding Hood,” and we learn that Grandmother may have been sleeping with both the woodsman and the wolf (“well, we assume on different nights”). Fairy tales, she writes, often “lead us to normalize a situation both strange and potentially catastrophic.” In “Spectrograms (projected autobiography),” Mullen depicts the constant, arbitrary breakdown of projected images against memory and “strategies for containment.” The author’s deliberate structural interventions may be off-putting and arduous for many readers—e.g., in her essay on being “jilted” à la Miss Havisham, which is intended to relay the layers of unfathomable “complicated grief” therein. Yet in “Trust,” Mullen allows the memory of her shame at being violated by a trusted elder to unfold organically, later in life, juxtaposed with an attempt to heal by taking up fencing again, to marvelously poignant effect. Readers will relish such translucent moments in this prickly work.
Lyrical and tricky: for serious readers.Pub Date: Nov. 1, 2015
ISBN: 978-0-9844142-8-4
Page Count: 120
Publisher: Solid Objects
Review Posted Online: Aug. 17, 2015
Kirkus Reviews Issue: Sept. 1, 2015
Categories: GENERAL NONFICTION
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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
Categories: GENERAL NONFICTION
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With this detailed, versatile cookbook, readers can finally make Momofuku Milk Bar’s inventive, decadent desserts at home, or see what they’ve been missing.
In this successor to the Momofuku cookbook, Momofuku Milk Bar’s pastry chef hands over the keys to the restaurant group’s snack-food–based treats, which have had people lining up outside the door of the Manhattan bakery since it opened. The James Beard Award–nominated Tosi spares no detail, providing origin stories for her popular cookies, pies and ice-cream flavors. The recipes are meticulously outlined, with added tips on how to experiment with their format. After “understanding how we laid out this cookbook…you will be one of us,” writes the author. Still, it’s a bit more sophisticated than the typical Betty Crocker fare. In addition to a healthy stock of pretzels, cornflakes and, of course, milk powder, some recipes require readers to have feuilletine and citric acid handy, to perfect the art of quenelling. Acolytes should invest in a scale, thanks to Tosi’s preference of grams (“freedom measurements,” as the friendlier cups and spoons are called, are provided, but heavily frowned upon)—though it’s hard to be too pretentious when one of your main ingredients is Fruity Pebbles. A refreshing, youthful cookbook that will have readers happily indulging in a rising pastry-chef star’s widely appealing treats.
Pub Date: Oct. 25, 2011
ISBN: 978-0-307-72049-8
Page Count: 256
Publisher: Clarkson Potter
Review Posted Online: Jan. 13, 2012
Kirkus Reviews Issue: Oct. 15, 2011
Categories: GENERAL NONFICTION
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