MY ONE GOOD NERVE

With this painfully sincere collection of poems, stories, and character pieces, Ruby Dee joins the unhappy pantheon of actors, such as Jimmy Stewart and Leonard Nimoy, who have strayed disastrously into scribbling. Most of these pieces are drawn from Dee’s traveling one-woman show, also called My One Good Nerve. And so, the pieces may perform better than they read. You can guess where Dee as performer might pause dramatically, where she—d slip fully into a character, and where she—d build cadences eloquently, but the words and lines themselves, ranging from prosaic to warmed-over to embarrassing, do not equal her actor’s gifts. She suffers from the misconception, common to many amateur poets, that adapting prose by shortening line lengths and inserting a few repetitions will indeed result in a poem: “Tupac./Spelled backwards—/Caput. Meaning/ Finished. Over. Ended. Done./Twenty-six was it?/Oh my God. So young/Mouths drop. Stop in/Unbelieving anguish and surprise . . .” Her writing is arranged here loosely according to theme—a section on love, an aggregation of “comic” musings, grouped tributes to African-American heroes, and a woman-power wrap-up. There are well-intentioned allegorical musings on racism, fractured fairy tales and nursery rhymes, poems “celebrating” everyone from James Baldwin to Marvin Gaye . . . and it is all, with barely the breath of exception, misconceived, mishandled, and misbegotten. Dee writes what she knows, which is part of the problem. She’s piggybacking off tired modes and models, and shows neither the gifts nor the inclination to create anything original (or expertly derivative). All she has to offer is earnestness. As Oscar Wilde put it, “A little sincerity is a dangerous thing, and a great deal of it is absolutely fatal.” (A joint memoir by Dee and her husband, Ossie Davis, will be published by William Morrow, also in November.) (b&w photos, not seen)

Pub Date: Nov. 13, 1998

ISBN: 0-471-31704-7

Page Count: 192

Publisher: Wiley

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Oct. 1, 1998

Did you like this book?

No Comments Yet

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

Did you like this book?

Necessarily swift and adumbrative as well as inclusive, focused, and graceful.

A LITTLE HISTORY OF POETRY

A light-speed tour of (mostly) Western poetry, from the 4,000-year-old Gilgamesh to the work of Australian poet Les Murray, who died in 2019.

In the latest entry in the publisher’s Little Histories series, Carey, an emeritus professor at Oxford whose books include What Good Are the Arts? and The Unexpected Professor: An Oxford Life in Books, offers a quick definition of poetry—“relates to language as music relates to noise. It is language made special”—before diving in to poetry’s vast history. In most chapters, the author deals with only a few writers, but as the narrative progresses, he finds himself forced to deal with far more than a handful. In his chapter on 20th-century political poets, for example, he talks about 14 writers in seven pages. Carey displays a determination to inform us about who the best poets were—and what their best poems were. The word “greatest” appears continually; Chaucer was “the greatest medieval English poet,” and Langston Hughes was “the greatest male poet” of the Harlem Renaissance. For readers who need a refresher—or suggestions for the nightstand—Carey provides the best-known names and the most celebrated poems, including Paradise Lost (about which the author has written extensively), “Kubla Khan,” “Ozymandias,” “The Charge of the Light Brigade,” Wordsworth and Coleridge’s Lyrical Ballads, which “changed the course of English poetry.” Carey explains some poetic technique (Hopkins’ “sprung rhythm”) and pauses occasionally to provide autobiographical tidbits—e.g., John Masefield, who wrote the famous “Sea Fever,” “hated the sea.” We learn, as well, about the sexuality of some poets (Auden was bisexual), and, especially later on, Carey discusses the demons that drove some of them, Robert Lowell and Sylvia Plath among them. Refreshingly, he includes many women in the volume—all the way back to Sappho—and has especially kind words for Marianne Moore and Elizabeth Bishop, who share a chapter.

Necessarily swift and adumbrative as well as inclusive, focused, and graceful.

Pub Date: April 21, 2020

ISBN: 978-0-300-23222-6

Page Count: 304

Publisher: Yale Univ.

Review Posted Online: Feb. 9, 2020

Kirkus Reviews Issue: March 1, 2020

Did you like this book?

more