SWEET SWING BLUES ON THE ROAD

A YEAR WITH WYNTON MARSALIS AND HIS SEPTET

Marsalis writes as elegantly as he plays the trumpet, so fans will doubtless enjoy his atmospheric musings on playing jazz across America, nicely complemented by photographer/filmmaker Stewart's glamorously black-and-white photos. Less indulgent readers may notice that there's not much new here: the usual tributes to band members (``one of the finest musicians in the world,'' ``a great jazz musician,'' etc.), remarks on the grinding travel routine (``the road is an endless series of `Are we here?' ''), and bouquets to the audience (``What I really love about meeting people we have played for is the range of personalities''). Also not new are Marsalis's bad-tempered putdowns of popular culture other than jazz—music videos are ``visual projections of the purest ignorance and worst intentions,'' and he decries ``young sensibilities slowly destroyed by the alpha-wave onslaught''—though he claims to like rap. Marsalis is a lot more appealing when he gets off his soapbox and concentrates on extolling (with considerable eloquence) the music he loves.

Pub Date: Dec. 1, 1994

ISBN: 0-393-03514-X

Page Count: 192

Publisher: Norton

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Oct. 15, 1994

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

THE ELEMENTS OF STYLE

50TH ANNIVERSARY EDITION

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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Analyzing his craft, a careful craftsman urges with Thoreauvian conviction that writers should simplify, simplify, simplify.

SEVERAL SHORT SENTENCES ABOUT WRITING

New York Times columnist and editorial board member delivers a slim book for aspiring writers, offering saws and sense, wisdom and waggery, biases and biting sarcasm.

Klinkenborg (Timothy; or, Notes of an Abject Reptile, 2006), who’s taught for decades, endeavors to keep things simple in his prose, and he urges other writers to do the same. (Note: He despises abuses of the word as, as he continually reminds readers.) In the early sections, the author ignores traditional paragraphing so that the text resembles a long free-verse poem. He urges readers to use short, clear sentences and to make sure each one is healthy before moving on; notes that it’s acceptable to start sentences with and and but; sees benefits in diagramming sentences; stresses that all writing is revision; periodically blasts the formulaic writing that many (most?) students learn in school; argues that knowing where you’re headed before you begin might be good for a vacation, but not for a piece of writing; and believes that writers must trust readers more, and trust themselves. Most of Klinkenborg’s advice is neither radical nor especially profound (“Turn to the poets. / Learn from them”), and the text suffers from a corrosive fallacy: that if his strategies work for him they will work for all. The final fifth of the text includes some passages from writers he admires (McPhee, Oates, Cheever) and some of his students’ awkward sentences, which he treats analytically but sometimes with a surprising sarcasm that veers near meanness. He includes examples of students’ dangling modifiers, malapropisms, errors of pronoun agreement, wordiness and other mistakes.

Analyzing his craft, a careful craftsman urges with Thoreauvian conviction that writers should simplify, simplify, simplify.

Pub Date: Aug. 7, 2012

ISBN: 978-0-307-26634-7

Page Count: 224

Publisher: Knopf

Review Posted Online: May 14, 2012

Kirkus Reviews Issue: June 15, 2012

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