Modern-day muckraking at its best.

READ REVIEW

COURTROOM 302

A YEAR BEHIND THE SCENES IN AN AMERICAN CRIMINAL COURTHOUSE

Addictive portrait of an American courtroom.

Chicago Reader staffer Bogira chronicles a year in the titular Courtroom 302 of the Cook County Criminal Courthouse, where Chicago’s felons are tried, convicted and sentenced. He aims to show “how justice miscarries every day, by doing precisely what we ask it to.” The resultant account is eye-opening and bold from the start, beginning with the prologue; there, Bogira portrays a deputy shouting obscenities at prisoners waiting in the courthouse’s holding pen and quotes a lieutenant saying, “We get the dregs of humanity here. If these people moved in next door to you, your lawn would die.” Readers meet a host of defendants, including Larry Bates, a middle-aged, small-level drug criminal, in for violating the terms of probation, and Tony Cameron, arrested for armed robbery. But the strongest portrait here is of Judge Daniel Locallo, who emerges as a hero even though Bogira doesn’t refrain from criticizing him. Locallo is fair, doesn’t suffer fools, genuinely loves what he does each day and seems to dispense justice as best he can from the bench in an imperfect system. The narrative turns on the so-called Bridgeport case, involving three white teenagers charged with brutally beating a 13-year-old black boy. In racially charged Chicago, this case can only be explosive. It has all the elements of a great story: heartstring-pulling parents of the kids on trial; whispers of mob involvement; rumors that a hit has been ordered on Judge Locallo himself. Bogira’s critique focuses on the culture of the courtroom. Judges are awarded for getting as many cases through their courtroom as possible in a given day; defense lawyers have almost no time to spend with their clients; and the defendants, even innocent ones, feel pressured to take plea bargains. Meanwhile, judges are elected, but a system of merit appointment would ensure that they weren’t catering their decisions to voters’ whims.

Modern-day muckraking at its best.

Pub Date: March 25, 2005

ISBN: 0-679-43252-3

Page Count: 416

Publisher: Knopf

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Feb. 1, 2005

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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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Necessarily swift and adumbrative as well as inclusive, focused, and graceful.

A LITTLE HISTORY OF POETRY

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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