A salty, sexy story with a deeply likable heroine who's dancing as fast as she can.

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FAITH IN CARLOS GOMEZ

A MEMOIR OF SALSA, SEX, AND SALVATION

Horsewoman and freelance writer Dunn unexpectedly loses herself in salsa, where she finds personal insight and a whole new community.

After nearly losing her leg in a horseback riding accident some years ago, Dunn was able to get back on the horse, but she didn't figure on doing much more dancing in her life. But after she’s (willingly, happily) seduced by her irresistible Latino blacksmith—he shoes her horse—she finds herself in desperate need of dancing lessons. Contrary to her expectations, she's almost immediately disillusioned with the blacksmith, but finds that the dancing has invaded her thoughts; she's begun to hear salsa beats as she walks down the street. Her teacher, too, has become strangely attractive to her after taking her out to a salsa club and showing her his amazing moves on the dance floor. Dunn can't understand the turn her life is taking, but she’s suddenly in total thrall to the Latin dancing world. She takes private lessons, seeks out gifted instructors and goes out to dance clubs every night, despite her bum leg and nagging lack of rhythm. She even begins wearing skirts, something she'd never imagined doing again after her accident. With a salty southern charm, Dunn is like the Brett Butler of the L.A. salsa scene, charming and seducing the reader into wondering whether maybe it’s time to sign up for salsa lessons at the local studio. As Dunn runs through her romantic misadventures and her stormy relationship with her mother, herself a dancer, she points to her many missteps, but the overall impression is of a woman who is finding her way, learning to trust herself and other people. Drama, humor and the heat of the salsa scene infuse the work.

A salty, sexy story with a deeply likable heroine who's dancing as fast as she can.

Pub Date: Aug. 2, 2005

ISBN: 0-8050-7678-6

Page Count: 224

Publisher: Henry Holt

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: April 15, 2005

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Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...

THE ELEMENTS OF STYLE

50TH ANNIVERSARY EDITION

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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Analyzing his craft, a careful craftsman urges with Thoreauvian conviction that writers should simplify, simplify, simplify.

SEVERAL SHORT SENTENCES ABOUT WRITING

New York Times columnist and editorial board member delivers a slim book for aspiring writers, offering saws and sense, wisdom and waggery, biases and biting sarcasm.

Klinkenborg (Timothy; or, Notes of an Abject Reptile, 2006), who’s taught for decades, endeavors to keep things simple in his prose, and he urges other writers to do the same. (Note: He despises abuses of the word as, as he continually reminds readers.) In the early sections, the author ignores traditional paragraphing so that the text resembles a long free-verse poem. He urges readers to use short, clear sentences and to make sure each one is healthy before moving on; notes that it’s acceptable to start sentences with and and but; sees benefits in diagramming sentences; stresses that all writing is revision; periodically blasts the formulaic writing that many (most?) students learn in school; argues that knowing where you’re headed before you begin might be good for a vacation, but not for a piece of writing; and believes that writers must trust readers more, and trust themselves. Most of Klinkenborg’s advice is neither radical nor especially profound (“Turn to the poets. / Learn from them”), and the text suffers from a corrosive fallacy: that if his strategies work for him they will work for all. The final fifth of the text includes some passages from writers he admires (McPhee, Oates, Cheever) and some of his students’ awkward sentences, which he treats analytically but sometimes with a surprising sarcasm that veers near meanness. He includes examples of students’ dangling modifiers, malapropisms, errors of pronoun agreement, wordiness and other mistakes.

Analyzing his craft, a careful craftsman urges with Thoreauvian conviction that writers should simplify, simplify, simplify.

Pub Date: Aug. 7, 2012

ISBN: 978-0-307-26634-7

Page Count: 224

Publisher: Knopf

Review Posted Online: May 14, 2012

Kirkus Reviews Issue: June 15, 2012

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