These essays aren’t all about literature. The most moving one is pure memoir, linking the death of her father and her...



Rarely does a book that seems to promise so little deliver so much. Even the subtitle, Occasional Essays, of Zadie Smith’s nonfiction collection Changing My Mind, carries a whiff of modest ambitions. This isn’t, it seems to say, nearly as substantial as Smith’s novels.

Yet rather than the usual clean-out-the-closets collection—the miscellany of articles that fills the publication gap between big books—this volume, which includes previously published material, offers the sort of insight that will not only enlighten fans but should provide plenty of illumination for anyone who appreciates fiction and words and the interplay between writer and reader as much as Smith plainly does. The best of these essays are as concerned with the essence of reading well as writing well. And they are written so incisively, and with so much empathy and warm-hearted humor, that they show how reading has made Smith the writer that she is. Rather than a critic advancing an argument or an academic analyzing in code, she’s a writer who understands the reader’s perspective, a reader who understands the writer’s. When she praises the “broad sympathetic sensibility” of E.M. Forster (who provided the template for her novel On Beauty), she could well be describing her own. Much of her writing on literature doesn’t directly critique other writers, but critiques the critiques, as Smith sees Middlemarch through Henry James’s eyes while inviting the reader to read (or re-read) George Eliot’s classic through Smith’s. Whether she’s describing how she initially resisted the seminal influence of Zora Neale Hurston, perhaps the first of the great authors about whom Smith has changed her mind, or celebrating the late David Foster Wallace (“he was my favorite living writer”) through a close reading of his Brief Interviews With Hideous Men, Smith shows a universalist’s, omnivorous appetite for literature. The book’s title implies more than arriving at a different verdict. As the author matures, becomes more educated and experienced, she reads with a mind that is different than it was. As reading fiction leads to writing it, she develops a more profound understanding of those different, symbiotic roles. “Reading has always been my passion, my pleasure, and I am constitutionally drawn to any thesis that gives power to readers…,” she writes. “But when I became a writer, writing became my discipline, my practice, and I felt the need to believe in it as an intentional, directional act, an expression of individual consciousness.”

These essays aren’t all about literature. The most moving one is pure memoir, linking the death of her father and her family’s appreciation for comedy. (The weakest are the film reviews, some little more than capsules.) But even when delving into politics, Smith brings a novelist’s attention to language, style and tone. If she’d never written a novel, this collection alone would make me eager to read more of her work.

Pub Date: Nov. 16, 2009

ISBN: 978-1-59420-237-7

Page Count: 310

Publisher: Penguin Press

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Sept. 1, 2009

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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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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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