Manteghi weaves together her diverse international life experiences to create an insightful, lively self-portrait.

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The Street of Good Fortune

In Manteghi’s memoir, she reflects with compassion and humor on her year spent as a 34-year-old battling breast cancer, interspersing memories of her childhood as an Iranian in Canada and her pre-cancer years in Bosnia.

Manteghi, unlike many of her peers, didn’t spend her early 30s planning the perfect domestic family life. Having immigrated to Canada from Iran as a young child, Manteghi never felt wholly in sync with her Toronto home or Canadian peers. After graduating from law school, Manteghi pursued adventure abroad as an activist in Bosnia. There, she found a home as she developed deep connections with the people, philanthropic interests and a romantic relationship. Her breast cancer diagnosis ended all of that. Manteghi returned to Toronto, spending a year in chemotherapy. With humor, she examines her experience, stating that she had replaced her idolization of Christiane Amanpour with Kylie Minogue as she channeled the “KylieChemo look.” In more serious moments, she realized that the family life she’d assumed would happen might not. The experience changed her. The narrative is initially a little confusing; the chronology isn’t linear, and the reader may wonder why Manteghi was in Bosnia, for example. For the reader not well-versed in Bosnian or Iranian history, a brief introduction of the countries’ histories would have been helpful. As the narrative progresses, however, the reader becomes more familiar with Manteghi’s personal history, and the nonlinearity of the stories becomes easier to follow. Manteghi’s choosing among career ambition, romance and family may be particularly interesting for other young people faced with similar decisions.

Manteghi weaves together her diverse international life experiences to create an insightful, lively self-portrait.

Pub Date: April 7, 2014

ISBN: 978-0615970714

Page Count: 210

Publisher: Forefront Media Group

Review Posted Online: June 19, 2014

Kirkus Reviews Issue: Aug. 1, 2014

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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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