A frank remembrance that tells of how the author found the strength to free herself from a dangerous situation.

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WANNA GO. WANNA STAY

MY JOURNEY IN A SEASON OF ABUSE

A debut memoir that explores a young woman’s time in an abusive relationship.

In early 1970s Atlanta, Scott was just beginning a career as a computer programmer after obtaining a degree in computer science: “Rare for anyone in the late 1960s—more rare for females back then, and especially rare for a black female,” she notes. Between writing computer code and navigating a new city, a lonely Scott met and fell in love with Mark, a handsome, passionate African-American man with strong convictions and opinions. He seemed like the perfect boyfriend—until, she says, he struck her in a moment of jealous rage, leaving her with a bruise on her face. The author, a self-reliant woman, made no excuses for his behavior and immediately distanced herself from him and sought counseling. However, the primary advice that she received from her counselor was to marry Mark, in order to quell his jealous outbursts—and she followed that advice: “My desire to get married blocked out any wisdom that I should have had,” she says. Not long into the marriage, she writes, Mark’s paranoia returned. She says that he interpreted calls that she received from work and even pieces of cigarette paper on the floor as evidence of Scott’s alleged lovers, and that he attacked her with increasing violence. Scott relates instances of abuse with forceful prose: “He rammed me. With his fist. In my face.” The short, brutal sentences seem to come out of nowhere, just as she says Mark’s rage did. She also excels at re-creating the anxiety of trying to escape such a situation; she offers deeply affecting accounts of her hesitation while crossing a parking lot and of waiting in an airport while trying to get away from Mark. Scott focuses entirely on this relationship throughout the book, so she misses many opportunities to develop the story of her earlier life. The resulting memoir, however, offers an important analysis of her frame of mind during a difficult time. At one point, for instance, she says that she successfully escaped Mark, but later returned. Overall, she provides a firsthand account of how an extraordinary, capable person can still be manipulated by another.

A frank remembrance that tells of how the author found the strength to free herself from a dangerous situation.

Pub Date: July 25, 2018

ISBN: 978-0-9996009-0-0

Page Count: 194

Publisher: Phoenix Enix Press

Review Posted Online: Jan. 22, 2019

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Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...

THE ELEMENTS OF STYLE

50TH ANNIVERSARY EDITION

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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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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