Eclectic, exuberant fandom from Chabon.




The Pulitzer Prize–winning author goes his own way writing about some of his favorite books and comics.

Chabon (Pops: Fatherhood in Pieces, 2018, etc.) eagerly returns to the beloved genres of his youth in this joyous collection covering nearly 20 years of introductions, prefaces, forewords, and afterwords to adventure tales, sci-fi, ghost stories, comic books, and his own books, all written in the “hope of bringing pleasure to the reader—to some reader, somewhere.” He confesses he read Norton Juster’s The Phantom Tollbooth at least five or six times. Though it didn’t make him want to be a writer—that came later with Arthur Conan Doyle—Juster’s “world of wonders” still gives him a “tiny thrill of nostalgia and affection for the wonderful book.” Stop “reading this nonsense,” he chides, and go read the book. That advice reflects a common theme in this collection: Chabon, the fan, urging readers to read these stories. He firmly believes M.R. James’ ghost story, “Oh, Whistle, and I’ll Come to You, My Lad,” is one of the “finest short stories ever written.” He confesses that the “splendor and fragility” of Ray Bradbury’s story “The Rocket Man,” which Chabon first read when he was 10, was the “most important short story in my life as a writer.” Bradbury “gave me my first everlasting lessons in literary style.” Chabon waxes euphoric about the “remarkable artistic achievement” of Michael Moorcock’s heroic fantasy, The Sailor on the Seas of Fate, as he does about Howard Chaykin, the “craftsman, an artisan of pop,” and his experiments in comic book art. There are two pieces about Chabon’s abandoned, early “disaster,” Fountain City, one on Summerland, and one on The Mysteries of Pittsburgh and discovering his need to write in “traditional, bourgeois narrative form.” The author closes with a couple liner notes about Mark Ronson and the Pittsburgh “post-punk” band Carsickness.

Eclectic, exuberant fandom from Chabon.

Pub Date: Jan. 22, 2019

ISBN: 978-0-06-285129-1

Page Count: 192

Publisher: Perennial/HarperCollins

Review Posted Online: Oct. 28, 2018

Kirkus Reviews Issue: Nov. 15, 2018

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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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