PORTRAIT OF MY BODY

PERSONAL ESSAYS

At once intimate and objective, Lopate's (Bachelorhood, 1981, etc.) further personal essays meander through the latest stages of his life, continuing their sophisticated, witty explorations of it. If Lopate's contemporary interest in pushing at the first-person essay's ``thin line between the charming and the insufferable'' marks him as a literary performer, his writing here still keeps one foot in the impartial, searching tradition of Montaigne and Hazlitt. Picking up his life where his last collection of autobiographical essays, Against Joie de Vivre (1989), left off, and focusing on his recent preoccupations with fathers, father figures, and paternity, these essays nicely juggle meditative themes with autobiographical disclosure. Lopate calculatedly adopts a self-centered persona to give himself some creative distance, but this first-person camouflage doesn't conceal his genuine concerns with emotional isolation and egoism. The persona entertainingly takes center stage in his confessions about his irritable vacations, his schoolmarmish movie-going manners, and his baffled, superrogatory role in his daughter's birth. It also provides a revealing, slightly warped mirror in such pieces as the title essay, a droll, frank, gossipy tour of the author's anatomy. There are also more serious reflections on the role of the mentor in literary life, as well as a somewhat unoriginal but still provocative essay on guilt-policed Holocaust obsession. At his best, he plays himself off against other personalities: his aged father, former colleague Donald Barthelme, and fellow writer Anatole Broyard, with subtle and moving disclosures on both sides. Caring for his doddering father, he painfully reacquaints himself with the solipsistic obstinacy they share and his reactions to it. (``We spend most of our adulthoods trying to grasp the meanings of our parents' lives; and how we shape and answer these questions largely turns us into who we are.'') A mature voice honestly and humorously addressing a variety of universals through carefully observed particulars.

Pub Date: Sept. 1, 1996

ISBN: 0-385-47710-4

Page Count: 320

Publisher: Anchor

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: July 1, 1996

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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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Necessarily swift and adumbrative as well as inclusive, focused, and graceful.

A LITTLE HISTORY OF POETRY

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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