VOICE LESSONS

ON BECOMING A (WOMAN) WRITER

A delightful collection of essays on becoming a writer, by the author of Ordinary Time (1993), which draws from literature, feminism, psychoanalysis, and life experience. Mairs's writing is a hybrid form of essay that can be both intellectual and abstract, as well as intimately autobiographical. ``I found my writing voice, and go on finding it...by listening to the voices around me, imitating them, then piping up on my own,'' says Mairs, who began to find her voice as a writer only in her 30s when she was already a graduate student, married, a mother, and a survivor of a bout of depression that landed her in a mental institution. It was then that she began to listen ``to the words and intonations of women as women.'' The sources of her literary feminist awakening included the writings of Virginia Woolf, Doris Lessing, Alice Walker, and French feminist theorist Julia Kristeva. But this slim volume is no academic tome. Her essays are grounded in experiences that are particular to her life—living with MS, or smaller moments such as a visit to a psychic who refuses to ``read'' her. In ``The Literature of Personal Disaster,'' which first appeared in the New York Times Book Review, Mairs writes from the singular vantage point of a woman who, having written about her own MS and suicidal depression, as well as her husband's cancer, is now frequently asked to review works in this ``sub-genre.'' She snappily takes on the harsh critics of these books, saying, ``The narrator of personal disaster, I think, wants not to whine, not to boast, but to comfort...it is possible to be both sick and happy. This good news, once discovered, demands to be shared.'' Voice Lessons should be both a comfort and a spiritual guide to women writers in search of their own ``voices.''

Pub Date: June 6, 1994

ISBN: 0-8070-6006-2

Page Count: 176

Publisher: Beacon Press

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: April 15, 1994

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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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