Not for all readers, but prime in its class—literate, learned and wise criticism, with scarcely a breath of cynicism or...

WHAT LIGHT CAN DO

ESSAYS ON ART, IMAGINATION, AND THE NATURAL WORLD

A winner of just about every major literary award exercises his considerable critical chops, ruminating on the works of poets, photographers, writers and other artists.

Hass (English/Univ. of California, Berkeley; The Apple Trees at Olema: New and Selected Poems, 2010, etc.) brings formidable gifts and experience to the art of criticism. He speaks with greatest authority about poets and poetry, as evidenced by his pieces about literary celebrities like Wallace Stevens, Allen Ginsberg, Robinson Jeffers, Czeslaw Milosz (whose works Hass has helped translate) and others. Hass also introduces Western readers to the Korean poet Ko Un and to Slovene and Chinese poets. In one section, he celebrates the work of California writers Jack London, Mary Austin and Maxine Hong Kingston. He also dives into the complexities of the Gospel of John, wrestles with the relationship between poetry and spirituality, highly praises the Border Trilogy of Cormac McCarthy (“a miracle in prose,” he calls The Crossing) and offers a swift, sensitive history of blacks’ servitude in the sugar, tobacco, cotton and rice fields. He ends with the text of a speech he delivered at Berkeley in 2009 about the controversy at that school over the removal of a grove of oaks to accommodate the athletic facilities. For that piece, Hass walked the ground, explored natural history and read stories about the founding of the university—in other words, he did his homework. Characteristic of all of these pieces, of course, is Hass’ great erudition (even bibliophiles may feel as if they’ve not read very much) but also a surpassing generosity of spirit, a determination to understand other writers and artists rather than to judge them.

Not for all readers, but prime in its class—literate, learned and wise criticism, with scarcely a breath of cynicism or disdain.

Pub Date: Aug. 14, 2012

ISBN: 978-0-06-192392-0

Page Count: 496

Publisher: Ecco/HarperCollins

Review Posted Online: June 17, 2012

Kirkus Reviews Issue: July 1, 2012

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NUTCRACKER

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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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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