Insightful and reassuringly positive; should help remote employees avoid land mines.




Three remote workers share their experiences and offer advice in this debut guide.

The concept of a remote workforce is often addressed from the employer’s viewpoint considering the impact it might have on the business. What sets this book apart is it is written from the perspectives of three employees who work remotely. Douglas, Gordon, and Webber team up to tell their stories through vignettes while offering “pro tips” to help prospective remote workers meet the unique challenges of operating in a location other than their employers’ places of business. Whether the information they share can be defined as “secrets” may be questionable, but their intent is sound: to provide the remote employee with an informal manual in order to navigate a nontraditional work arrangement. The authors break the book into six parts (effectively chapters) intended for remote workers and a seventh part directed at their managers. The guide’s first part is one of the most intriguing because it focuses on the psychological aspects of toiling remotely. Here, the authors’ own experiences, related conversationally, contribute to their intimate understanding of what it really takes to work “alone.” For example, a common misconception, according to the authors, is the notion that remote employees have more free time, but “the reality is actually the opposite…working from home means working more.” Less surprising is the difficulty associated with separating home life from work life. Thankfully, the authors do more than just observe these conditions—they suggest strategies for handling them throughout this timely and beneficial book. Other chapters concerning physical environment, logistics, and communication are more utilitarian, providing content one might expect, but they are no less helpful. The final chapter is basically sensitivity training for managers of remote workers. Here, the authors seem to not so subtly advocate for what might be regarded as preferential treatment: “As a manager in this environment, you need to take more overt steps to show recognition than you would in a traditional office setting.” Still, this chapter competently discusses the special managerial challenges of a remote workforce.

Insightful and reassuringly positive; should help remote employees avoid land mines.

Pub Date: Aug. 22, 2018

ISBN: 978-1-5062-4856-1

Page Count: 134

Publisher: 750 Publishing

Review Posted Online: Oct. 24, 2018

Kirkus Reviews Issue: Dec. 15, 2018

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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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