Ten Oxford University lectures on poetry from Heaney, perhaps the best-known Irish poet in America. Think of it as a transcontinental overview of English (Welsh, Irish, Scottish, and American) poetry: George Herbert, Christopher Marlowe, John Clare, Brian Merriman (an 18th century Irish poet relatively unknown to American readers), up through Hugh MacDiarmid, Philip Larkin, and Elizabeth Bishop. Heaney's tendency is to look for the poet's visionary prowess within a repressive social context. This is not a simple political stance, familiar to American readers in the works of Robert Bly or Denise Levertov, but the endurance of the poet's words to envision either a Utopia or a chaotic universe entrapped by its priorities. Moreover, Heaney asserts, these visions can be arrived at through a path of inspired linguistics. ``How the poem sounds is probably more important than what it sees,'' as he says of MacDiarmid's work. Far from being an idealist, he discusses a poet's limitations as well as strengths: preferring the early Wilde, perceptively noting the ``linguistic hype'' in Dylan Thomas's weaker poems. Ultimately, he posits that there is a `` `frontier of writing', the line that divides the actual conditions of our daily lives from the imaginative representation of those conditions in literature, and divides also the world of social speech from the world of poetic language.'' But rather than focusing on the poems in this analysis, Heaney stresses the historical context. Thus, his lectures are as much about sociology as they are about poetry; the biographical persistence necessitated by his theories can try the reader's patience; and his discussion is not of the poem so much as of the poem as it furthers his thesis. General readers beware: Despite Heaney's personal asides and deceptively casual tone, his complex line of thought is indeed that of the highfalutin Oxford lecturer.
Pub Date: Nov. 1, 1995
ISBN: 0-374-24853-2
Page Count: 196
Publisher: Farrar, Straus and Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 15, 1995
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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