Difficult reading at times, but immensely well-documented and useful.




A meticulous academic study grasping the vast scope of an evolving global problem.

Journalist Hepburn (co-author: Women's Roles and Statuses the World Over, 2006, etc.) and Simon (Public Affairs and Law/American Univ.; co-author: Immigration the World Over, 2003, etc.) carefully define the many forms of human exploitation, which are shockingly prevalent from the poorest to the richest countries. The authors have sifted through documentation increasingly available—such as the Trafficking in Persons Report compiled annually by the U.S. State Department, studies by the United Nations, NGOs, newspapers and court cases—and have chosen 24 countries that offer a representative sampling of the worldwide “trafficking scenario” in terms of economics, geopolitics and culture. Many countries are only now being compelled to address the problem, and the issues of definition plague official statistics and efforts at enforcement. For example, labor trafficking (such as debt bondage) is as much a part of human exploitation as sex trafficking, though not often included in the same statistics. The authors group the countries not geographically but by a thematic commonality. For example, the United States, Japan and the United Arab Emirates are all hugely wealthy countries attractive to traffickers because of their need for inexpensive labor and the allowing of visa loopholes that encourage the enslavement of foreign migrants. The influx of victims trafficked to the Gulf Region after hurricanes Katrina and Rita provide cases in point, as does the reluctance by Japan to address its “hyperthriving” sex industry and yakuza (organized crime) network. Other themes around which countries are grouped include stateless persons, such as the hill tribe people of Thailand and the Palestinians; unrest and displacement (Iraq, Syria); gender apartheid (Iran); social hierarchy (China); and muti murder, or the abduction and murder of people for the purpose of harvesting body parts (South Africa). The authors also consider what happens to traffickers and victims after apprehension.

Difficult reading at times, but immensely well-documented and useful.

Pub Date: June 4, 2013

ISBN: 978-0-231-16145-9

Page Count: 448

Publisher: Columbia Univ.

Review Posted Online: March 12, 2013

Kirkus Reviews Issue: April 1, 2013

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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 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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