Thoughtful studies by an evenhanded critic that will no doubt urge readers back to the original texts.
An examination of the work of six so-called “confessional” poets—Robert Lowell, Elizabeth Bishop, John Berryman, Randall Jarrell, Delmore Schwartz, and Sylvia Plath—all schooled in modernism and poised to break the rules.
New York Sun book critic Kirsch calls these poets “rebellious heirs” of T.S. Eliot, who famously dictated that poetry should not be “the expression of personality, but an escape from personality.” Indeed, Lowell et al. were trained variously by New Critics, yet all transcended the heroic strictures of modernism by artfully working into their poetry the inner demons of their personal lives, which often involved mental illness, alcoholism, or suicide. Kirsch proposes a “brief biography of their poetry” by dropping in a few details from their lives only to show how brilliantly they reworked the material for effect. Beginning with Lowell, Kirsch quotes Allen Tate’s appalled warning—after reading Life Studies in manuscript, he declared, “the poems are composed of unassimilated details, terribly intimate, and coldly noted . . . of interest only to you”—then proceeds to analyze Lowell’s masterly manipulation of the material. Bishop’s “experiments in control” are set against Schwartz’s “pedestrian” attempts at reconciling art and life through artful spontaneity and innovation. By juxtaposing his childhood as a Brooklyn Jewish immigrant with that of the children of Tsar Nicholas II, for example, in the poem “The Ballad of the Children of the Czar,” Schwartz was the first who dared to dignify (and elevate) an intimate, shameful experience. Kirsch admirably works through Berryman’s “harrowingly intimate” poetry, which emerged despite his zealous apprenticeship under Yeats, contrasting him with Jarrell, who responded to the “burden” of breaking from Modernism by “respectful, self-protective evasion.” The essay on Plath sheds no new light, but demonstrates a perceptive restraint when comparing her “juvenilia” with the ferocious, mature style of later work that transformed her experience “beyond recognition.”
Thoughtful studies by an evenhanded critic that will no doubt urge readers back to the original texts.Pub Date: April 1, 2005
ISBN: 0-393-05197-8
Page Count: 256
Publisher: Norton
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 15, 2005
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)
Pub Date: Oct. 28, 1996
ISBN: 0-15-100227-4
Page Count: 136
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1996
BOOK REVIEW
BOOK REVIEW
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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