DANGEROUS PILGRIMAGES

TRANS-ATLANTIC MYTHOLOGIES AND THE NOVEL

In another of his able (if not overly inspired) surveys, Bradbury (The Modern American Novel, 1983, etc.) traces the ``flourishing traffic in fancy, fiction, dream, and myth'' between the old world and the new. Ranging from Washington Irving and Charles Dickens to Evelyn Waugh and Martin Amis, Bradbury attempts to reveal, as reflected in European (primarily British) and American fiction, ``the barter of myths and illusions,'' the ways in which writers on opposite sides of the Atlantic have imagined (and influenced) each other's societies. He points out that the fantasies that each have nursed of the other have often had a profound impact and have sometimes led to disillusion. The protagonist of Herman Melville's novel Redburn goes to England and discovers that the idyllic travel guides he's read have little to do with reality. Such works, Melville writes, ``are the least reliable books in all literature; and nearly all literature, in one sense, is made up of guide- books.'' Bradbury considers Chateaubriand's Indian romance Atala, Washington Irving's History of New York and Sketchbook of Geoffrey Crayon, Dickens's Martin Chuzzlewit, Hawthorne's The Marble Faun, and the works of Henry James, Oscar Wilde, and Mark Twain, among others, as he plots the ways in which ideas of American ``innocence'' and European ``civilization'' have clashed, flourished, and intermingled. Toward the end he flags a bit, giving perfunctory summaries of the Lost Generation and Modernism, but the narrative revives in his discussion of the the perennially new America imagined by the French critics Jacques Derrida and Jean Baudrillard. Bradbury suspects that, despite the emergence of a new ``Euro-identity,'' and despite America's growing interest in the Pacific Rim, the great fictions that Europe and America share, and which are ``part of our essential record of human understanding,'' will retain their power. Bradbury necessarily skimps here and there, but he digests, summarizes, and critiques enough to make this into a readable, useful, original guide.

Pub Date: Aug. 1, 1996

ISBN: 0-670-86625-3

Page Count: 528

Publisher: Viking

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: May 15, 1996

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WHAT A WONDERFUL WORLD

A LIFETIME OF RECORDINGS

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

A LITTLE HISTORY OF POETRY

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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