Given the historical interplay between French and English poetries, this up-do-date, dual-language anthology of French poetry since Apollinaire is a long-overdue treasure. Auster's selections are generous, catholic, and knowledgeable throughout. He begins with the great, full works of Apollinaire, Jacob, Reverdy, Supervielle, Jouve, Eluard, Michaux, Ponge, Prevert, Guillevec, and Char. Then, fascinatingly, he leads up to the most recent French poetry—much of which shows the influence (not always felicitous) of American poets: there is blanched, shiny work by Alain Veinstein, Alain Delahaye, Philip Denis, Emmanuel Hocquard, Roger Giroux, and Jacques Dupin. (Auster quotes Yves Bonnefroy as describing English poetry as a "mirror," French as a "sphere"—and if French verse has had a rounding effect on modern US poetry, the reverse ssems true of the newest French poets.) The largest achievement here, however, is in the diversity and appropriateness of the chosen translations. Highlights: Paul Blackburn's Apollinaire, and Beckett's rendering of "Zone"; Maria Jolas with Fargue's "Tumult"; Ron Padgett's Reverdy; Keith Bosley's Jouve; Auster's translation of Eluard's "Le Sourd et l'aveugle"; Richard Ellmann's and Armand Schwerner's Michaux; Michael Wood's version of Rene Daumal's "Let Mot et la mouche"; Anthony Rudolf's Bonnefoy; Harry Matthews' Roche; and Keith Waldrop's Royet-Journaud. These—as well as other versions, by other poet/translators—are literally revealing. And, in all, this anthology is easily the most virtuous and important such venture since last year's Penguin omnibus of Hebrew poetry.

Pub Date: Nov. 1, 1982

ISBN: 0394717481

Page Count: -

Publisher: Random House

Review Posted Online: Sept. 16, 2011

Kirkus Reviews Issue: Nov. 1, 1982

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Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...



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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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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