MATTERS OF PRINCIPLE

AMERICA'S REJECTION OF THE BORK NOMINATION

Here, the former Chief Counsel to the Senate Judiciary Committee contends, not always plausibly, that the Senate's 1987 rejection of Supreme Court nominee Robert Bork was a principled rebuff by the American people of a jurisprudential radical. In explaining his judicial philosophy in The Tempting of America (1990), Bork contended that the Senate's rejection of his candidacy for the Supreme Court illustrated the deplorable politicization of America's legal system. He also argued that his theory of ``original intent''—that is, that judges should construe the Constitution and especially the Bill of Rights narrowly and in accordance with the perceived intent of the original draftsmen of these texts, and without finding unenumerated rights in them—is the only legitimate interpretive framework. Gitenstein does little to dispel Bork's charge of politicization: His vivid descriptions of Sen. Joseph Biden's meetings with media and liberal-interest groups demonstrate plainly the nomination-process's political dimension. But he makes an arresting case that Bork's philosophy of originalism radically departs from the jurisprudential mainstream and that, if accepted by the full Court, it would have resulted in the repudiation of a half century of case law in the areas of civil rights, privacy, voting rights, and other fields. Gitenstein is less persuasive when he appears to argue, frequently citing opinion polls, that Bork's defeat was the result, not of a partisan political campaign, but of a considered judgment by the American people of Bork's judicial philosophy. He asserts finally that although the Senate was unable to prevent the creation of a conservative majority on the Supreme Court in the wake of Bork's defeat, the post-Bork Court is considerably more solicitous of ``unenumerated rights'' of individuals than if Bork were on the Court. Historically valuable as a politically partial account of the Bork nomination, but inadequate as an examination of Bork's jurisprudence.

Pub Date: Oct. 1, 1992

ISBN: 0-671-67424-2

Page Count: 384

Publisher: Simon & Schuster

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Aug. 15, 1992

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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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