A vibrant, high-spirited collection that will appeal to those on one side of this complex geopolitical conundrum.


An anthology calling upon American writers to address the plight of the Palestinians.

Editor Freeman (On Sal Mal Lane, 2013, etc.) notes in her introduction, “what can and cannot be done in America is a question that carries enormous hope on the part of people who do not live here.” She casts “the impetus to ask a group of writers to reflect on the ongoing assault on the thin and shifting borders of Palestine” in historical terms, citing similar projects rooted in the tumult of 1937 and 1967. The structure is somewhat jumbled: such sections as “Erasure” or “The Un/Making of History” mix fiction, poetry, or narrative essays, while only some writers provide introductory commentary. Several well-known writers responded with older work, like novelist Colum McCann, who notes, “this might sound odd, but there is as much Gaza as Derry in this story.” In describing her poem “The Story of Joshua,” Alicia Ostricker avers, “as an American Jew...Israel/Palestine is like a weird doppelganger beating and beating alongside my own heart.” Some authors present fusions of form, such as Janne Teller’s alphabetized entry, which indexes the events leading to the current state of conflict. Other writers respond with brief essays examining one aspect of the situation—e.g., Laila Lalami’s “The Nameless Palestinian Prisoners,” which notes the refusal of Israeli newspapers to acknowledge the identities of detainees; or Kiese Laymon’s “My Mama Went to Palestine,” which recalls her mother’s lifelong study of “poverty and structural oppression.” Elsewhere, poet Naomi Shihab Nye tersely compares the deaths of children in Gaza to recollections of an idyllic childhood in Ferguson, Missouri, now known for its own unrest. Other notable contributors include Jane Hirshfield, Tess Gallagher, Leslie Jamison, Claire Messud, Alice Walker, Teju Cole, and George Saunders.

A vibrant, high-spirited collection that will appeal to those on one side of this complex geopolitical conundrum.

Pub Date: Dec. 3, 2015

ISBN: 978-1-682190-08-1

Page Count: 430

Publisher: OR Books

Review Posted Online: Sept. 21, 2015

Kirkus Reviews Issue: Oct. 1, 2015

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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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