A parenting manual that’s soft on research but warm, wise, and often original.




A debut guide to becoming a fun, supportive parent.

Many people believe they’ll be good parents before they actually have a child. Then they fall apart at the piercing screams of a toddler’s tantrum, or wonder why a child refuses to go to sleep. Authors Wipfler and Schore wrote this book for these moments. They assure parents that their children are normal, despite behavior that seems unmoored. More importantly, they reassure parents that they are normal, too—that feelings of anger and resentment are natural companions to joy and wonderment. Wipfler and Schore call their method “Hand in Hand Parenting,” because they posit that families function best when parents and children feel close and connected. They recommend five tools for strengthening those connections: “Regular Special Time,” with parents giving full attention to an activity that the child chooses; “Staylistening,” or remaining close but largely quiet as a child works through emotional upsets; “Setting Limits,” so that children do not hurt themselves or others; “Playlistening,” or play that elicits stress-relieving laughter; and “the Listening Partnership,” in which parents share feelings and experiences with other understanding adults. Together, the authors say, these tools head off problems and let children do necessary emotional work. The book’s structure allows busy parents to quickly find solutions to specific problems and shares expertise in a fun, flowing style: “We win our children’s hearts (and respect) when we get down on our knees and wrestle with them,” the authors note. “We can bond with one another over watermelon-seed-spitting contests and squirt-gun battles.” Overall, the book offers plenty of wisdom. However, the authors should have cited specific, scientific research to back up some claims. They tell many stories of children who seem to be processing the negative emotions of their own difficult births, for example, but they provide no evidence that proves that trauma is actually stored that way. Some of their solutions, such as sharing deep emotions, may not be comfortable for everyone. That said, the authors will likely help parents find imaginative, calm ways to help their children become adults.

A parenting manual that’s soft on research but warm, wise, and often original.

Pub Date: Aug. 23, 2016

ISBN: 978-0-9974593-0-2

Page Count: 326

Publisher: Hand in Hand Parenting

Review Posted Online: July 14, 2016

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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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