Journalist Manning, whose Last Stand (not reviewed) was an exposÇ of the logging industry, now turns to the story of his decision to put his conservationist principles into action by building—largely with his own hands—a house that embodied the values he's espoused in his writing. We see the process literally from the ground up—anyone who wonders how a house is put together will learn a great deal here- -since Manning is fascinated by the complexities of carpentry, wiring, and plumbing, and the skills of those who do these necessary tasks. Each stage of the construction gets a separate chapter, covering not only the physical process of construction, but its history and its relationship to the ecological and conservational issues that are the author's real subject: where the lumber comes from, how hydroelectric dams affect wildlife, how much water is lost with every flush of a toilet. ``Less is more'' becomes a central theme throughout as Manning shows alternative ways to build a house while keeping waste and energy consumption to a minimum. And he keeps the reader aware of how the house relates to the natural setting of which it is a part- -from the ground squirrels that raid his vegetable garden to the trees that feed his woodstove. Nor does he neglect the human element: nearly every chapter features a sympathetically drawn portrait of some member of his Montana community—be it dowser or banker or backhoe operator—who contributed in some way to the project. Manning combines the nuts-and-bolts concreteness of a how-to book with a lively sense of history and a genuine dedication to principle and self-reliance: this one has the potential to become a modern American classic. (Eight pages of color and b&w photos- -not seen)

Pub Date: April 1, 1993

ISBN: 0-8021-1503-9

Page Count: 256

Publisher: Grove

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 1, 1993

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This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)

Pub Date: Oct. 28, 1996

ISBN: 0-15-100227-4

Page Count: 136

Publisher: Harcourt

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Aug. 15, 1996

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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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