A real treat for New Yorker fans and dog lovers alike.

THE BIG NEW YORKER BOOK OF DOGS

New Yorker anthology provides a classy tribute to man's best friend.

With a foreword by Malcolm Gladwell (What the Dog Saw: And Other Adventures, 2009, etc.), who also authored a piece on Cesar Millan's methods of training out-of-control dogs, and new packaging for older pieces on dogs by great masters of the literary pen (James Thurber, Arthur Miller, Roald Dahl, John Updike and others), this beautiful volume is a winner. There are 18 reproduction covers on the subject of dogs spanning the period from 1933 to the present, a number of them standouts, ranging from the sentimental to the outright satirical. The essays are organized into sections on “Good Dogs,” “Bad Dogs,” “Top Dogs and “Underdogs,” and include a piece about Long Island's Buckram Beagles in the 1930s, a salute to Rin Tin Tin, an essay about dog racing in the U.K. in the 1950s, a profile of Leona Helmsley and her bequests, which have helped establish legal rights for dogs, and an article on the New Tabernacle Baptist Church Urban Hunting Club. These contributions are interleaved with poems about dogs (five of which contain different versions of their authors' drafts), editorial cartoons and nine full-page pictures of doggy subjects. The list is long and impressive, but other notable contributors include E.B. White, Ogden Nash, Donald Barthelme, A.J. Liebling, George W.S. Trow, Donald Hall, Roddy Doyle, Jerome Groopman, Ian Frazier, Jim Shepard, Adam Gopnik, Susan Orlean, Roger Angell, T.C. Boyle, Joan Acocella and Jonathan Lethem.

A real treat for New Yorker fans and dog lovers alike.

Pub Date: Oct. 30, 2012

ISBN: 978-0-679-64475-0

Page Count: 304

Publisher: Random House

Review Posted Online: Aug. 29, 2012

Kirkus Reviews Issue: Sept. 15, 2012

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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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MARTIN LUTHER KING, JR. AND THE MARCH ON WASHINGTON

This early reader is an excellent introduction to the March on Washington in 1963 and the important role in the march played by Martin Luther King Jr. Ruffin gives the book a good, dramatic start: “August 28, 1963. It is a hot summer day in Washington, D.C. More than 250,00 people are pouring into the city.” They have come to protest the treatment of African-Americans here in the US. With stirring original artwork mixed with photographs of the events (and the segregationist policies in the South, such as separate drinking fountains and entrances to public buildings), Ruffin writes of how an end to slavery didn’t mark true equality and that these rights had to be fought for—through marches and sit-ins and words, particularly those of Dr. King, and particularly on that fateful day in Washington. Within a year the Civil Rights Act of 1964 had been passed: “It does not change everything. But it is a beginning.” Lots of visual cues will help new readers through the fairly simple text, but it is the power of the story that will keep them turning the pages. (Easy reader. 6-8)

Pub Date: Jan. 1, 2001

ISBN: 0-448-42421-5

Page Count: 48

Publisher: Grosset & Dunlap

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Dec. 1, 2000

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