A sly piece of work—though you still should read the books.

READ REVIEW

THE WESTERN LIT SURVIVAL KIT

AN IRREVERENT GUIDE TO THE CLASSICS, FROM HOMER TO FAULKNER

A clever tour d’horizon of what you might encounter in a Great Books course in college.

At first glance, Newman’s (Read This Next, 2010, etc.) work comes across as a comedy routine meant to poke many of the received-opinion greats in the eye with a sharp stick, much in the manner of Ovid, one of the author’s favorites. And that is certainly part, but far from all, of the truth. First, a typical zinger: “As a general note, all of Homer’s heroes were illiterates who considered rape and genocide normal. Generations of European boys were raised on Homer. Just saying.” The author is not here to venerate—though Shakespeare gets a pretty deep genuflection—or eviscerate: She appreciates genius and fine, intellectually thrilling writing. With each writer, she gets to the nub of a work or style from the outset (“The Bronte home was a little biosphere of literary misery”), and she is not afraid to venture her true feelings: Of Tristram Shandy: “Page for page, it’s possibly the funniest novel ever.” Newman is a serious fan of humor and a good roll in the hay: e.g., Sappho, Tom Jones and Gargantua and Pantagruel. Montaigne’s Essays also get the nod, as do Dickinson, Kafka, Eliot and a holy host of others. Half the fun here is quibbling with her choices and tinkering with her rating system: How important are the books considered? How accessible are they? How much fun? Newman assigns each a number from 1 to 10, and despite all the levity, she has clearly (if seemingly surreptitiously) read deeply and brought serious rumination to the proceedings.

A sly piece of work—though you still should read the books.

Pub Date: Jan. 3, 2012

ISBN: 978-1-592-40694-4

Page Count: 256

Publisher: Gotham Books

Review Posted Online: Oct. 2, 2011

Kirkus Reviews Issue: Oct. 15, 2011

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MARTIN LUTHER KING, JR. AND THE MARCH ON WASHINGTON

This early reader is an excellent introduction to the March on Washington in 1963 and the important role in the march played by Martin Luther King Jr. Ruffin gives the book a good, dramatic start: “August 28, 1963. It is a hot summer day in Washington, D.C. More than 250,00 people are pouring into the city.” They have come to protest the treatment of African-Americans here in the US. With stirring original artwork mixed with photographs of the events (and the segregationist policies in the South, such as separate drinking fountains and entrances to public buildings), Ruffin writes of how an end to slavery didn’t mark true equality and that these rights had to be fought for—through marches and sit-ins and words, particularly those of Dr. King, and particularly on that fateful day in Washington. Within a year the Civil Rights Act of 1964 had been passed: “It does not change everything. But it is a beginning.” Lots of visual cues will help new readers through the fairly simple text, but it is the power of the story that will keep them turning the pages. (Easy reader. 6-8)

Pub Date: Jan. 1, 2001

ISBN: 0-448-42421-5

Page Count: 48

Publisher: Grosset & Dunlap

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Dec. 1, 2000

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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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