The eyes of general readers will glaze reading the lit-crit, blaze (and redden) reading the writers’ eulogies.

THE LEGACY OF DAVID FOSTER WALLACE

A potpourri of a literary collection—from exegeses to eulogies—all in memory and honor of Wallace (1962–2008).

Cohen (English/Univ. of Missouri; After the End of History: American Fiction in the 1990s, 2009) and Konstantinou (English/Princeton Univ.; Pop Apocalypse: A Possible Satire, 2009) collect scholarly essays about Wallace’s work, interviews with Wallace and others, tributes delivered at Wallace’s memorial service by friends and fellow writers and an essay from a literary curator about the Wallace collection at the University of Texas. Their decision to alternate scholarly pieces with personal ones was risky and causes a serious problem for the scholars. When an earnest essay dense with critical jargon (“an attempt at a Hegelian sublation of metafiction into metafiction critical of its own impulses”) appears after a moving piece by Rick Moody, the scholarly piece suffers. Over and over again, scholars weigh in and are followed by Don DeLillo, Dave Eggers, Jonathan Franzen (whose tribute will bring tears to the eyes of nearly all readers) and others. Ending the volume with an essay about cataloging Wallace’s papers seems an odd choice in such a collection. The editors have fleet literary athletes ready to run the anchor lap, and instead choose someone who writes about categorizing types of track shoes. This is not to disparage that essay—it’s of real interest—but why at the end?

The eyes of general readers will glaze reading the lit-crit, blaze (and redden) reading the writers’ eulogies.

Pub Date: May 31, 2012

ISBN: 978-1-60938-082-3

Page Count: 244

Publisher: Univ. of Iowa

Review Posted Online: March 19, 2012

Kirkus Reviews Issue: April 1, 2012

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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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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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