A charming, thoughtful book for lovers of Paris, the French language or good writing.




A collection of personal essays on the author’s (Singing the City: The Bonds of Home in an Industrial Landscape, 1998, etc.) love affair with the French language.

Graham’s lifelong affection for the French language led to her owning an apartment in Paris. While the French language transported her to the city, Paris transports her into the language. Being in a French city is for Graham simply a way to fulfill her dream of speaking the language around the clock. In these essays, the details of her life as a part-time Parisian lend immediacy to her descriptions, as readers follow her through the apartment-purchase process, adventures with the local utilities, explorations into her neighborhood and her gradual acclimatization to the routines of French life. Simple, direct language and charming illustrations draw readers in. The author’s experiences in the city–whether as a property owner, shopper or wife of a patient in a foreign hospital–are all fertile ground for further fluency. She observes and absorbs the words that surround her and each essay reveals a different perspective on her life within the language. Graham savors new expressions, learns to change the shape of her mouth to pronounce vowels and consonants and revels in the nuances of word placement and the softness, magic and music of the language. Her thoughts on French take the author from translating baseball terms, to a discussion of the effects of language on behavior, to a comparison of Pittsburgh and Paris. She even tries composing poetry, following the rules of French neoclassicism. Her life is not without tragic, heart-wrenching events, yet she continues to find joy in the refuge and haven of the French language.

A charming, thoughtful book for lovers of Paris, the French language or good writing.

Pub Date: June 1, 2009

ISBN: 978-1-59571-370-4

Page Count: -

Publisher: N/A

Review Posted Online: Jan. 4, 2011

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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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