For all aspiring Renaissance people, as well as for students of urban design, art history, and early modern European history.



Sometimes plodding, always illuminating biography of the renowned English architect and overachiever.

Christopher Wren (1632–1723), writes British architectural historian Tinniswood, came of age among unusually brilliant contemporaries. His classmates at the Westminster School, for instance, included future Anglican cleric Richard South, future poet John Dryden, and future philosopher John Locke. Even in such distinguished company, young Wren was reckoned to be unusually gifted, and he soon distinguished himself as a prolific coiner of what his family album called “New Theories, Inventions, Experiments, and Mechanick Improvements,” contributing to anatomy, astronomy, optics, cryptography, hydrology, military engineering, textile manufacturing, and agriculture, to name just a few fields. (He was also fond of performing medical experiments on dogs, the details of which are not for the squeamish.) A Leonardo da Vinci for his day, Wren was, Tinniswood demonstrates, practically as well as theoretically minded; he managed to thread his way through complex political tangles in a time of anti-monarchical, anti-Catholic revolution to gain favored status in the courts of several English monarchs. Though appointed professor of astronomy at Oxford at 29, Wren strove for greater renown, which he would achieve by designing St. Paul’s Cathedral and other public buildings in the wake of the Great Fire of London in 1666. As Tinniswood shows, Wren’s ultimately unrealized plans for remaking the city were well ahead of their time, though his trademark hybrid of Gothic and classical styles would be seen as old-fashioned toward the end of his very long life. Tinniswood’s account sometimes gasps under the weight of overabundant detail, but it adds much to our understanding of Wren in the context of his time and as a craftsman whose “holistic approach to design” and “need to control every stage of the process . . . were something new in British architecture.”

For all aspiring Renaissance people, as well as for students of urban design, art history, and early modern European history.

Pub Date: Jan. 1, 2001

ISBN: 0-19-514898-0

Page Count: 416

Publisher: Oxford Univ.

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Nov. 1, 2001

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Necessarily swift and adumbrative as well as inclusive, focused, and graceful.


A light-speed tour of (mostly) Western poetry, from the 4,000-year-old Gilgamesh to the work of Australian poet Les Murray, who died in 2019.

In the latest entry in the publisher’s Little Histories series, Carey, an emeritus professor at Oxford whose books include What Good Are the Arts? and The Unexpected Professor: An Oxford Life in Books, offers a quick definition of poetry—“relates to language as music relates to noise. It is language made special”—before diving in to poetry’s vast history. In most chapters, the author deals with only a few writers, but as the narrative progresses, he finds himself forced to deal with far more than a handful. In his chapter on 20th-century political poets, for example, he talks about 14 writers in seven pages. Carey displays a determination to inform us about who the best poets were—and what their best poems were. The word “greatest” appears continually; Chaucer was “the greatest medieval English poet,” and Langston Hughes was “the greatest male poet” of the Harlem Renaissance. For readers who need a refresher—or suggestions for the nightstand—Carey provides the best-known names and the most celebrated poems, including Paradise Lost (about which the author has written extensively), “Kubla Khan,” “Ozymandias,” “The Charge of the Light Brigade,” Wordsworth and Coleridge’s Lyrical Ballads, which “changed the course of English poetry.” Carey explains some poetic technique (Hopkins’ “sprung rhythm”) and pauses occasionally to provide autobiographical tidbits—e.g., John Masefield, who wrote the famous “Sea Fever,” “hated the sea.” We learn, as well, about the sexuality of some poets (Auden was bisexual), and, especially later on, Carey discusses the demons that drove some of them, Robert Lowell and Sylvia Plath among them. Refreshingly, he includes many women in the volume—all the way back to Sappho—and has especially kind words for Marianne Moore and Elizabeth Bishop, who share a chapter.

Necessarily swift and adumbrative as well as inclusive, focused, and graceful.

Pub Date: April 21, 2020

ISBN: 978-0-300-23222-6

Page Count: 304

Publisher: Yale Univ.

Review Posted Online: Feb. 9, 2020

Kirkus Reviews Issue: March 1, 2020

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An extraordinary true tale of torment, retribution, and loyalty that's irresistibly readable in spite of its intrusively melodramatic prose. Starting out with calculated, movie-ready anecdotes about his boyhood gang, Carcaterra's memoir takes a hairpin turn into horror and then changes tack once more to relate grippingly what must be one of the most outrageous confidence schemes ever perpetrated. Growing up in New York's Hell's Kitchen in the 1960s, former New York Daily News reporter Carcaterra (A Safe Place, 1993) had three close friends with whom he played stickball, bedeviled nuns, and ran errands for the neighborhood Mob boss. All this is recalled through a dripping mist of nostalgia; the streetcorner banter is as stilted and coy as a late Bowery Boys film. But a third of the way in, the story suddenly takes off: In 1967 the four friends seriously injured a man when they more or less unintentionally rolled a hot-dog cart down the steps of a subway entrance. The boys, aged 11 to 14, were packed off to an upstate New York reformatory so brutal it makes Sing Sing sound like Sunnybrook Farm. The guards continually raped and beat them, at one point tossing all of them into solitary confinement, where rats gnawed at their wounds and the menu consisted of oatmeal soaked in urine. Two of Carcaterra's friends were dehumanized by their year upstate, eventually becoming prominent gangsters. In 1980, they happened upon the former guard who had been their principal torturer and shot him dead. The book's stunning denouement concerns the successful plot devised by the author and his third friend, now a Manhattan assistant DA, to free the two killers and to exact revenge against the remaining ex-guards who had scarred their lives so irrevocably. Carcaterra has run a moral and emotional gauntlet, and the resulting book, despite its flaws, is disturbing and hard to forget. (Film rights to Propaganda; author tour)

Pub Date: July 10, 1995

ISBN: 0-345-39606-5

Page Count: 432

Publisher: Ballantine

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: May 1, 1995

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