Unique eyes look at familiar things and somehow make them seem both odder and more familiar.



A motley collection of pieces—often quite brief, many previously unpublished—on topics ranging from broken love to stretch marks to Tylenol.

Essayist Noble has a focused, tight style, often employing the technique of looking at somewhat discrete items (or memories) and seeking connections among them. Early in this debut volume, for example, is a series of snippets about the author’s experiences looking in mirrors, from childhood to the present—yes, Narcissus makes an appearance. Later, Noble examines a collection of rings that once belonged to her late grandmother, and she riffs on each one, giving us the histories of the various stones (“Pliny wrote that wearing a diamond wards off insanity”) and the memories she has of them. The author displays admirable candor in some reflections about her love affairs, chronicling not just how they began, but also how they cracked and crumbled, and she does not hesitate to recognize that she was sometimes the one to initiate the cracks. Noble also writes bluntly about her fears of childbirth. Another technique she uses is to compare her life with the lives of literary and historical figures. In a piece about one of her relationships, for instance, she cuts back and forth to and from the story of Henry VIII and Anne Boleyn. Evident throughout is Noble’s fondness for reading and literature: Virginia Woolf drifts in and out of a number of essays, and she alludes to Wuthering Heights, Montaigne, Robinson Crusoe, Joan Didion, and Sherwin Nuland, among numerous others. Throughout the collection, Noble delivers many sharp-edged sentences. At the end of an essay about shotgun shells, Noble writes about a spent shell and her target: “I hold a shell in my hand and look at the cardboard box half-shredded on the ground. My thumb, the size of the shell; the hole, the size of your heart.”

Unique eyes look at familiar things and somehow make them seem both odder and more familiar.

Pub Date: March 1, 2019

ISBN: 978-1-4962-0504-9

Page Count: 180

Publisher: Univ. of Nebraska

Review Posted Online: Dec. 9, 2018

Kirkus Reviews Issue: Jan. 1, 2019

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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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