English literary biographer Glendinning (Rebecca West, 1987, etc.) claims here that she has ``never been so happy researching and writing any book''—a pleasure she conveys to the reader in this first life of Trollope by a woman, and first popular biography of the recent, primarily scholarly, Trollope revival (e.g., N. John Hall's Trollope, 1991—not reviewed). The chasm between Trollope's life and art—between the bluff, vulgar, tactless civil servant and the elegant novels depicting aristocratic life and manners—is the major problem for Trollope biographers. Hall claimed that the social persona was as much an invention as the literary one, leaving the real Trollope yet to be discovered. Glendinning approaches the problem by emphasizing ``family dynamics,'' with Trollope cultivating an array of voices to cope with the demands of his domestic life, including a dominating and unnurturing mother (a prolific writer herself from whom Trollope acquired his herculean habits of composition); a hapless father; sickly sisters, sons, and nieces; a brother for whom Glendinning confesses her hostility; Trollope's nearly invisible wife, Rose, who privately had an enormous influence on him; and the many modern assertive women whom Trollope met but didn't know how to deal with. Glendinning concludes that Trollope is both the man and his art: a chameleon capable of many moods and voices, his novels reflecting and influencing the political and sexual lives of his contemporaries—politicians, writers, country gentry—with whom he associated. The author is particularly strong on the trivia that comprised the style of Trollope's life: clothes, digestion, holidays, dancing, flirting, gardens, illness, male friendship—all of which are copiously illustrated from Trollope's own prose. For those who read Trollope for pleasure or from curiosity, in comfortable chairs without taking notes. (Fifty photographs.)

Pub Date: Feb. 1, 1993

ISBN: 0-394-58268-3

Page Count: 560

Publisher: Knopf

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Dec. 1, 1992

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Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...



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").

Pub Date: May 15, 1972

ISBN: 0205632645

Page Count: 105

Publisher: Macmillan

Review Posted Online: Oct. 28, 2011

Kirkus Reviews Issue: May 1, 1972

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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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