There are things, says Lamb, that need “to be known about prison and prisoners. There are misconceptions to be abandoned,...



Intense attestations of lives that ran afoul of the law, from women who have done or are doing time at a prison in Connecticut.

Bestselling novelist Lamb (I Know This Much Is True, 1998, etc.) teaches a course in writing at the York Correctional Institution, and he offers here a selection of ten works from the women in his class, plus one by his co-instructor. The pieces are uniformly wrenching, reported from desperate circumstances by authors doomed to punishment. Yet they are as far from self-pity as possible, written by extremely self-aware authors who give a clear sense of setting out to take some degree of control of their destinies. Each piece is a probing re-examination of its author’s life and of the reasons she ended up in prison. Some recount childhoods taxing by any yardstick, years of learning to become “experts at detecting the slightest barometric fluctuations of Storm Mom,” or of being raped by a father who’d just lost the house in a card game—and, at term, having the baby spirited away before its mother was allowed to touch him. There are demons aplenty, inner ones begging to be tamed by drugs, and outer ones, like husbands, uncontrollable (one woman asks, “Why do I feel safer here in prison than I felt at home?”). The maximum-security prison is a tough house, and prospects of release for some of the writers are dim: “Ineligible for parole, I have served the first nine years of my twenty-five year sentence. I am 27.” This same person will also say, “I’m kept afloat by my writing.” And her writing, like other of the women’s, is lean, with the momentum and clarity needed for its work of helping frame and make sense of these authors’ situations.

There are things, says Lamb, that need “to be known about prison and prisoners. There are misconceptions to be abandoned, biases to be dropped.” Here’s a step in that direction.

Pub Date: Feb. 1, 2003

ISBN: 0-06-053429-X

Page Count: 320

Publisher: N/A

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Dec. 1, 2002

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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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