Humane and carefully argued responses to events of recent years, coupled with a long look back at the African past.



Deftly connected autobiographical essays by renowned Nigerian author Achebe (Languages and Literature/Bard Coll.; Anthills of the Savannah, 1987, etc.).

“I have news for you,” he writes. “Africa is not fiction. Africa is people, real people.” In his first new book since Anthills, Achebe challenges the economic-development experts of today, the successors of the colonialists of yesteryear. Allowing for the good intentions of both, the author examines the effects of outside tinkering with the continent, which today can take the form of bankers’ “structural adjustments” that result only in the continued immiseration of ordinary people. One source of such actions is paternalism, alluded to in the title of the collection, and Achebe allows for a bit of it in himself when he writes of his native country, “Nigeria is a child. Gifted, enormously talented, prodigiously endowed, and incredibly wayward.” And terribly corrupt, as well, which is no impediment to Achebe’s call for well-meaning people to roll up their sleeves and get to work helping Africa in real ways. Achebe’s view of African realities is hard-won, born of years of exile and thousands of miles of travels across the continent. He refrains, as he notes with some irony, from lecturing on colonialism per se, but he articulates a clear view of the ill effects of colonial rule. He also revisits a number of themes addressed in other works, including his objection to the European literature surrounding Africa, notably Joseph Conrad’s ungenerous Heart of Darkness, and his championing of African writers such as Ngugi wa Thiong’o and Cheikh Hamidou Kane (“Conrad portrays a void; Hamidou Kane celebrates a human presence and a heroic if doomed struggle”). For every supposed primitive sensibility and quaint superstition to be found in Africa, Achebe observes, there’s a counterpart in America and Europe—reason enough to shed ethnocentrism and open one’s eyes.

Humane and carefully argued responses to events of recent years, coupled with a long look back at the African past.

Pub Date: Oct. 8, 2009

ISBN: 978-0-307-27255-3

Page Count: 208

Publisher: Knopf

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Sept. 15, 2009

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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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