Given the historical interplay between French and English poetries, this up-do-date, dual-language anthology of French poetry since Apollinaire is a long-overdue treasure. Auster's selections are generous, catholic, and knowledgeable throughout. He begins with the great, full works of Apollinaire, Jacob, Reverdy, Supervielle, Jouve, Eluard, Michaux, Ponge, Prevert, Guillevec, and Char. Then, fascinatingly, he leads up to the most recent French poetry—much of which shows the influence (not always felicitous) of American poets: there is blanched, shiny work by Alain Veinstein, Alain Delahaye, Philip Denis, Emmanuel Hocquard, Roger Giroux, and Jacques Dupin. (Auster quotes Yves Bonnefroy as describing English poetry as a "mirror," French as a "sphere"—and if French verse has had a rounding effect on modern US poetry, the reverse ssems true of the newest French poets.) The largest achievement here, however, is in the diversity and appropriateness of the chosen translations. Highlights: Paul Blackburn's Apollinaire, and Beckett's rendering of "Zone"; Maria Jolas with Fargue's "Tumult"; Ron Padgett's Reverdy; Keith Bosley's Jouve; Auster's translation of Eluard's "Le Sourd et l'aveugle"; Richard Ellmann's and Armand Schwerner's Michaux; Michael Wood's version of Rene Daumal's "Let Mot et la mouche"; Anthony Rudolf's Bonnefoy; Harry Matthews' Roche; and Keith Waldrop's Royet-Journaud. These—as well as other versions, by other poet/translators—are literally revealing. And, in all, this anthology is easily the most virtuous and important such venture since last year's Penguin omnibus of Hebrew poetry.
Pub Date: Nov. 1, 1982
ISBN: 0394717481
Page Count: -
Publisher: Random House
Review Posted Online: Sept. 16, 2011
Kirkus Reviews Issue: Nov. 1, 1982
An autobiography as toxic and addictive as any drug its author has ever ingested.
The legendary booze-addled metal rocker turned reality-TV star comes clean in his tell-all autobiography.
Although brought up in the bleak British factory town of Aston, John “Ozzy” Osbourne’s tragicomic rags-to-riches tale is somehow quintessentially American. It’s an epic dream/nightmare that takes him from Winson Green prison in 1966 to a presidential dinner with George W. Bush in 2004. Tracing his adult life from petty thief and slaughterhouse worker to rock star, Osbourne’s first-person slang-and-expletive-driven style comes off like he’s casually relating his story while knocking back pints at the pub. “What you read here,” he writes, “is what dribbled out of the jelly I call my brain when I asked it for my life story.” During the late 1960s his transformation from inept shoplifter to notorious Black Sabbath frontman was unlikely enough. In fact, the band got its first paying gigs by waiting outside concert venues hoping the regularly scheduled act wouldn’t show. After a few years, Osbourne and his bandmates were touring America and becoming millionaires from their riff-heavy doom music. As expected, with success came personal excess and inevitable alienation from the other members of the group. But as a solo performer, Osbourne’s predilection for guns, drink, drugs, near-death experiences, cruelty to animals and relieving himself in public soon became the stuff of legend. His most infamous exploits—biting the head off a bat and accidentally urinating on the Alamo—are addressed, but they seem tame compared to other dark moments of his checkered past: nearly killing his wife Sharon during an alcohol-induced blackout, waking up after a bender in the middle of a busy highway, burning down his backyard, etc. Osbourne is confessional to a fault, jeopardizing his demonic-rocker reputation with glib remarks about his love for Paul McCartney and Robin Williams. The most distinguishing feature of the book is the staggering chapter-by-chapter accumulation of drunken mishaps, bodily dysfunctions and drug-induced mayhem over a 40-plus-year career—a résumé of anti-social atrocities comparable to any of rock ’n’ roll’s most reckless outlaws.
An autobiography as toxic and addictive as any drug its author has ever ingested.Pub Date: Jan. 25, 2010
ISBN: 978-0-446-56989-7
Page Count: 320
Publisher: Grand Central Publishing
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 1, 2009
IN THE NEWS
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
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