JUSTICE IN AMERICA

HOW IT WORKS - HOW IT FAILS

The goddess of justice is blind—and deaf and very often dumb—according to this savvy critique of the American legal system.

Moran, a lawyer, journalist and founding editor of The New York Jury Verdict Reporter, knows firsthand the problems that plague American jurisprudence, and isn’t afraid to point fingers. Topping his rogue’s gallery are “incompetent idiots” on the bench, including justices of the peace who don’t even need a high-school diploma to throw people in jail and trial judges who fall asleep during testimony. (And no, that won’t get your conviction overturned, Moran notes, unless you can prove the judge slept through something important.) Then there are the personal injury lawyers who cast about for deep pockets to sue no matter how dubious the liability, the attorneys who rake in millions from class-action suits that net their “clients” a few dollars each, the jurors—like Moran’s uncle—who base verdicts on off-the-wall theories instead of the evidence, the legislators who craft stupid laws and Supreme Court justices who uphold them based on tortured readings of the Interstate Commerce Clause. (Not always in contempt of court, Moran does allow that, often enough, judges are underpaid and conscientious, lawyers careful and upright and malpractice suits well-founded.) The author sets his indictment against a lucid outline of basic legal concepts and court procedures and nuanced discussions of everything from the propriety of electing judges to the mortgage-foreclosure robo-signing scandals. Moran writes in an entertaining, wised-up style, his punchy prose laced with black humor and an inexhaustible supply of anecdotes. His free-wheeling arguments shade from law into politics and beyond, as he enters a sweeping condemnation of a litigious society bound up in red tape because of liability fears, takes swipes at the New Deal regulatory state and even throws soup at snooty French waiters. It’s a bit over-stuffed, but Moran’s street-cred, irreverent wit and gift for translating legal arcana into laymen’s terms make for a persuasive brief. A lively, brash, illuminating insider’s look at the law, by a compelling expert witness.

 

Pub Date: July 16, 2011

ISBN: 978-1-463632700

Page Count: 276

Publisher: Coddington Press

Review Posted Online: Oct. 3, 2011

Kirkus Reviews Issue: Nov. 1, 2011

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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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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

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