A delightful little libretto of love at all costs results, bearing a music all its own.
In a follow-up to his grand translation of Beowulf, Heaney brings to English a tiny cycle of Czech love poems made famous by Janacek, who first set them to music in 1919. A classic tale of forbidden love, the poems relate the experiences of a young farm boy who forsakes house and home to run off with an irresistible Gypsy girl. The boy's sexual epiphany, brought on by the girl's seductive manner and sad plight, comes off the page in tight syllabic verse that effectively captures the earthy qualities of his consuming love. Only the diary remains in the end, sole witness to this carpe diem affair, as Johnny follows his Zefka and their newborn son into the forest with the paradoxical farewell: "To find my life, I lose it." Perhaps it was the timeless drama of these slight lines that appealed to Janacek when he first spotted the 23 anonymous poems titled From the Pen of a Self-Taught Man in his local paper in May 1916 (it was not until 1977 that Kalda's authorship came to light); perhaps, too, the lure of a relationship ultimately relegated to the page intrigued this avid letter writer who saved all of his correspondence. We do know that the then, 63-year-old Janacek identified the poems' "Zefka" as one Kamila Stosslova, the muse of his last and wildly prolific years, who was 38 years his junior at the time of their meeting and who never fully returned his obsessive affection. Heaney highlights the fascinating convolutions of the Diary's compositional history in his introduction, adding that his translation was commissioned by the English National Opera and taken on by him as a sort of "experiment" in wedding a singable English version of the poems with Janacek's folk melodies—no small feat.
A delightful little libretto of love at all costs results, bearing a music all its own.Pub Date: Sept. 1, 2000
ISBN: 0-374-13923-7
Page Count: 48
Publisher: Farrar, Straus and Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 2000
The phrase “tour de force” could have been invented for this audacious novel.
Four men who meet as college roommates move to New York and spend the next three decades gaining renown in their professions—as an architect, painter, actor and lawyer—and struggling with demons in their intertwined personal lives.
Yanagihara (The People in the Trees, 2013) takes the still-bold leap of writing about characters who don’t share her background; in addition to being male, JB is African-American, Malcolm has a black father and white mother, Willem is white, and “Jude’s race was undetermined”—deserted at birth, he was raised in a monastery and had an unspeakably traumatic childhood that’s revealed slowly over the course of the book. Two of them are gay, one straight and one bisexual. There isn’t a single significant female character, and for a long novel, there isn’t much plot. There aren’t even many markers of what’s happening in the outside world; Jude moves to a loft in SoHo as a young man, but we don’t see the neighborhood change from gritty artists’ enclave to glitzy tourist destination. What we get instead is an intensely interior look at the friends’ psyches and relationships, and it’s utterly enthralling. The four men think about work and creativity and success and failure; they cook for each other, compete with each other and jostle for each other’s affection. JB bases his entire artistic career on painting portraits of his friends, while Malcolm takes care of them by designing their apartments and houses. When Jude, as an adult, is adopted by his favorite Harvard law professor, his friends join him for Thanksgiving in Cambridge every year. And when Willem becomes a movie star, they all bask in his glow. Eventually, the tone darkens and the story narrows to focus on Jude as the pain of his past cuts deep into his carefully constructed life.
The phrase “tour de force” could have been invented for this audacious novel.Pub Date: March 10, 2015
ISBN: 978-0-385-53925-8
Page Count: 720
Publisher: Doubleday
Review Posted Online: Dec. 21, 2014
Kirkus Reviews Issue: Jan. 1, 2015
BOOK REVIEW
BOOK REVIEW
PROFILES
PERSPECTIVES
A strict report, worthy of sympathy.
A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.
"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….
A strict report, worthy of sympathy.Pub Date: June 15, 1951
ISBN: 0316769177
Page Count: -
Publisher: Little, Brown
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: June 15, 1951
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
APPRECIATIONS
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