Slowly, slowly, but sometimes delightfully, O'Toole takes us through just his first year at the Royal Academy of Dramatic Arts in this second volume of his memoirs (after (Loitering with Intent: The Child, 1993). At the current rate of progress, fans will have to wait quite a bit longer to get to O'Toole's celebrated screen career in films such as Lawrence of Arabia and The Lion in Winter. Actors are notoriously self-obsessed, but O'Toole breaks new ground as he batters us with insignificant anecdote after anecdote on the ephemera of his life. For a few pages, this looping, discursive style is engagingly oddball, and in a profession whose practitioners are not known for their literary abilities, O'Toole's prose is certainly polished and playful, although too self- consciously Joycean at times. But as with the first volume, he is not content merely to bore and frustrate us with a laundry list of details (and, yes, he even discusses his laundry), he also feels compelled to constantly digress in all directions and at length. In particular, he never misses an opportunity to discuss the great Shakespearean actor (and presumed kindred spirit) Edmund Kean. O'Toole does have some interesting thoughts on acting and on the teaching of acting, amusingly comparing the Stanislavski Method to the game of cricket. Like many British actors, O'Toole prefers a more deliberately constructed and calibrated style of acting. As he says rather severely of rehearsals, ``[They] are no occasion for dabblings in the inexact science of nature, functions, and phenomena of the human soul and mind.'' If only he could have brought his actor's precision and discipline to his prose. There is a charming, witty, lapidary, very slim volume somewhere in here, but it is buried under minutiae.
Pub Date: Feb. 13, 1997
ISBN: 0-7868-6065-0
Page Count: 416
Publisher: Hyperion
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: Dec. 1, 1996
Categories: GENERAL NONFICTION
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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
Categories: GENERAL NONFICTION
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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
Categories: GENERAL NONFICTION
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