Often evocative anthology of women's poems, prose, and photographs about choices that helped contour the authors' lives: a follow-up to the popular When I Am an Old Woman, I Shall Wear Purple, a collection of poems and stories on women's experience of aging and old age. Here, editor Martz (publisher of Papier Mache-Press) has chosen more than 60 pieces by authors who tell tales of decisions made and not made that, in retrospect, were defining moments. The selections cut across a spectrum of age, race, and ways of life, from young girls reflecting on relationships to old women reflecting upon their next meal. The terse title essay is by 85- year-old Nadine Stair, who says that ``If I had my life to live over...I'd dare to make more mistakes....I would be sillier....I would climb more mountains and swim more rivers....I would pick more daisies.'' Other entries speak of the choice to bear children- -or not to bear them; of pregnancies terminated or not terminated; of lovers taken or not taken; and, in Leslie Nyman's memorable ``Strawberries,''of lawns mowed or not mowed. A powerful poem, ``Vietnam,'' by Jennifer Lagier, lets the reader taste that war's residual poison. Speaking of her husband, a Vietnam vet, Lagier says, ``For a decade, we took Da Nang...to bed.'' The same cross- section of women—young, old, Asian, Caucasian—looks out from the dozen or so black and white photos that stand on their own throughout the book. Lacking the poignant immediacy of its predecessor—the difficult choices, for the most part, are viewed from a less vulnerable distance—but, still, an honorable and thought-provoking companion volume. (First printing of 70,000)
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)
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").