A handy, easy-to-read manual, particularly for neophyte pet owners in urban areas, where dog parks are essential for...

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HEY! WHOSE PARK IS THIS?

A primer about appropriate canine (and human) behavior during public playtime.

The dog park has become the site of much folklore, community policing, and sociological interest in America. In this debut work, Lee readily admits that she’s not an expert on animal training, so she bases her recommendations on many years of active participation and keen observation in the dog park area reserved for larger animals. Much confusion stems from human misperceptions of canine behavior, Lee says, and she seeks to set the record straight. “Each time you go is a new experience, because no two days there are ever alike,” she advises from the outset. “The mix of dogs and people are never the same, and you can never anticipate what might happen.” Although this may strike some new dog owners as somewhat alarming, the author provides general rules and strategies so that readers will feel prepared for all contingencies. Chapters specifically delve into such subjects as “Puppies,” “Children at the Dog Park,” “Neutering,” “Balls and Personal Toys,” “Body Language,” and “Prejudices.” One of the author’s salient recommendations is to take one’s dog for a walk before hitting the park so that the pet expends some excess energy in advance. Lee also urges owners to note and avoid the specific times when professional dog walkers bring large packs, pointing out that it’s virtually impossible for one person to keep tabs on so many dogs and that, logically, they’re more likely to get into trouble under such circumstances. As an added bonus, Lee sometimes adopts the voice of Buster, her 60-pound American Staffordshire terrier mix, to offer a dog’s unique perspective on the matters at hand; she crafts an introduction and conclusion as her pet, as well as one of the middle chapters. Even grizzled dog park veterans who’ve seen it all may appreciate this refresher course, and all dog lovers will enjoy Lee’s anecdotes, which she uses to illustrate specific points. Overall, she writes in a clear, accessible style and approaches her subject matter with humor in the hope that everyone will experience fun and safe adventures.

A handy, easy-to-read manual, particularly for neophyte pet owners in urban areas, where dog parks are essential for exercise and socialization.

Pub Date: Feb. 7, 2016

ISBN: 978-1-5347-2893-6

Page Count: 82

Publisher: CreateSpace

Review Posted Online: Dec. 29, 2016

Kirkus Reviews Issue: Feb. 15, 2017

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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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