Insightful essays express guarded hope for Latin America’s future.




Essays on Latin American politics reflect 5 tumultuous decades.

Nobel Prize winner Vargas Llosa (Notes on the Death of Culture: Essays on Spectacle and Society, 2015, etc.), born in Peru in 1936 and who ran for president of his home country in 1990, reflects on the politics and culture of Latin America in essays written over more than 50 years. Translated by Kushner and selected and introduced by Carlos Granés, a Colombian-born social anthropologist and scholar of Vargas Llosa, the essays reveal the trajectory of the author’s views from a leftist supporter of Fidel Castro to a conservative critic of various “collectivist ideologies” that he sees as having blighted Latin America. Granés groups the essays into five sections that are thematically related but not presented chronologically. In an informative foreword, he contextualizes the author’s work as responses to political events that occurred from the Cuban revolution of the 1950s, which Vargas Llosa considered “a model within socialism,” to the current upheaval in “impoverished, damaged Venezuela, devastated by demagoguery and corruption” under the presidency of Nicolás Maduro. Castro’s regime lost Vargas Llosa’s respect in 1971 when the Cuban ruler imprisoned the poet Heberto Padilla for “counterrevolutionary criticism” expressed in his poems. In response to Padilla’s public humiliation—he was forced to engage in self-criticism—Vargas Llosa, along with dozens of other writers, sent a strident rebuke to Castro, communicating “shame and anger” over his repression of freedom and abuse of human dignity. Many essays argue for intellectual openness: “the way in which a country strengthens and develops its culture,” the author wrote in 1981, “is by opening its doors and windows, widely, to all intellectual, scientific, and artistic currents, stimulating the free circulation of ideas.” Headnotes would have been a welcome addition to the collection; although Granés dates each piece, there is no indication of where they appeared or for what occasion. An exception is a warm memoir of literary friendships delivered at the first “Canon of the Boom” Congress in Madrid in 2012.

Insightful essays express guarded hope for Latin America’s future.

Pub Date: Feb. 6, 2018

ISBN: 978-0-374-25373-8

Page Count: 304

Publisher: Farrar, Straus and Giroux

Review Posted Online: Nov. 20, 2017

Kirkus Reviews Issue: Dec. 15, 2017

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


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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