A challenging exploration of documentary writing and photography, focusing on the ways in which researchers can affect, reshape, or misrepresent what they see. Coles, the noted psychiatrist and Harvard ethicist (The Moral Intelligence of Children, 1997, etc.), notes in the introduction that he has been preparing to write this book ``for over 35 years''—ever since he and his wife, while studying the integration of schools in Louisiana in 1960, first tried to make sense of what it meant to be witnesses, researchers, and onlookers. A fascination with the moral and practical consequences that arise when observers (journalists, academics, or social activists) probe the lives of a class of people— whether coal miners (George Orwell), migrant workers (Dorothea Lange), or Mississippi farmers (James Agee and Walker Evans)—led Coles to become one of the founders of Duke University's Center of Documentary Studies. Poet/doctor William Carlos Williams and biographer/therapist Erik Erikson are Coles's heroes, and from them and others he draws his theme: ``We notice what we notice in accordance with who we are.'' Coles offers striking examples of the way in which preconceptions can alter what is seen, including Lange's famous ``Migrant Mother'' photograph: That seminal Depression-era picture was selected from a series of shots and then cropped for dramatic impact, in accordance with Lange's personal vision, with who she was, with what she wanted to communicate about poverty in the South. Also examined, in sometimes rambling, verbose passages, are the impact the observer makes on those being observed and the tendency by writers like Agee and Orwell, for instance, to put on a pedestal the farmworkers and coal miners who helped make them famous. Journalists, social workers, and therapists, as well as producers of print or film documentaries, will find this ruminative volume of special use, reminding them of the questions they should ask themselves before they invade schools, workplaces, and private lives. (18 b&w photos, not seen)

Pub Date: April 1, 1997

ISBN: 0-19-511629-1

Page Count: 256

Publisher: Oxford Univ.

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Feb. 15, 1997

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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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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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