Well-selected, thoroughly researched and thoughtfully annotated—a surprising, welcome addition to the apparently endless...



Just when we thought there was nothing else to learn about Twain, another facet of that literary jewel appears.

Well-known Twain scholar Rasmussen (Critical Companion to Mark Twain, 2007, etc.) has selected 200 letters from among the many thousands Twain's fans and foes wrote to Twain during his career. Even more impressive is the fact that the editor has researched the lives of the correspondents, relying heavily on online sources like Ancestry.com and Findagrave.com to help him supply information about the writers—a number of whom, often autograph hounds, were not who they claimed to be. Twain seemed to have a keen nose for smelling the bogus and often noted his distrust and/or disdain on the letter before filing it. The letters range from adoration to disgust, the latter occurring more during Twain’s later years when his writings darkened and he satirized his targets more savagely—especially religion and imperialism. It’s surprising how many writers sent Twain poems they had composed in his honor (not much is memorable), and many wanted to tell him stories—about their reactions to his books, their own childhood experiences and, later, how his works enriched their lives. Some wrote to console him on the losses of his wife and daughter. A few, hearing he was dying, wrote to tell him how much he’d meant to them. There are smaller moments, too. A boy collector wants some of Twain’s cigar bands. A little girl wants Twain to write about Tom Sawyer as an adult. Some folks want money; others want to meet him. Although most are common folks, Twain also heard from poet James Whitcomb Riley and former president Rutherford B. Hayes.

Well-selected, thoroughly researched and thoughtfully annotated—a surprising, welcome addition to the apparently endless Twain shelf.

Pub Date: April 1, 2013

ISBN: 978-0-520-26134-1

Page Count: 296

Publisher: Univ. of California

Review Posted Online: Jan. 24, 2013

Kirkus Reviews Issue: Feb. 15, 2013

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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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