A sermon preached to the choir, this is not a good starting-point for those unfamiliar with Rich and her views—but it may be...

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ARTS OF THE POSSIBLE

ESSAYS AND CONVERSATIONS

An uneven collection of occasional pieces by one of America’s foremost poets.

For better or worse, Rich (Midnight Salvage, 1997, etc.) has reached a level of literary acclaim that allows her to publish anything she chooses. This collection spans three decades and consists primarily of papers and interviews given in academic settings. Interestingly enough, the strongest piece (“When We Dead Awaken”) is the oldest; originally presented to an MLA forum in 1971, it explores the consequences of being a female poet in a “white, patriarchal society.” As she puts it, “Until we can understand the assumptions in which we are drenched we cannot know ourselves.” In discussing Virginia Woolf’s A Room of One’s Own, Rich senses a deep frustration: “It is the tone of a woman determined not to appear angry, who is willing herself to be calm, detached, and even charming in a roomful of men where things have been said which are attacks on her very integrity.” If there is one thing that Rich has abandoned, it’s a desire to please “the patriarchal hierarchy,” and (in her best pre-1989 idiom) she speaks throughout of the “damage” wrought by the advancement of “North American capitalism.” As the collection progresses, the focus shifts from the plight of women generally to the exploitation of the “powerless” throughout history (predominantly represented here, with no apparent irony, by the Sandinistas). Rich calls for the return of a poetry that is politically engaged: “I have deplored the retreat into the personal as a current fetish of mass-market culture.” If, at the dawn of the 21st century, it is easy to scoff at such sentiments, it must be admitted that there is a touching (and very American) optimism here all the same.

A sermon preached to the choir, this is not a good starting-point for those unfamiliar with Rich and her views—but it may be of some interest to those already attuned to her work.

Pub Date: April 1, 2001

ISBN: 0-393-05045-9

Page Count: 256

Publisher: Norton

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 1, 2001

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WHAT A WONDERFUL WORLD

A LIFETIME OF RECORDINGS

Noted jazz and pop record producer Thiele offers a chatty autobiography. Aided by record-business colleague Golden, Thiele traces his career from his start as a ``pubescent, novice jazz record producer'' in the 1940s through the '50s, when he headed Coral, Dot, and Roulette Records, and the '60s, when he worked for ABC and ran the famous Impulse! jazz label. At Coral, Thiele championed the work of ``hillbilly'' singer Buddy Holly, although the only sessions he produced with Holly were marred by saccharine strings. The producer specialized in more mainstream popsters like the irrepressibly perky Teresa Brewer (who later became his fourth wife) and the bubble-machine muzak-meister Lawrence Welk. At Dot, Thiele was instrumental in recording Jack Kerouac's famous beat- generation ramblings to jazz accompaniment (recordings that Dot's president found ``pornographic''), while also overseeing a steady stream of pop hits. He then moved to the Mafia-controlled Roulette label, where he observed the ``silk-suited, pinky-ringed'' entourage who frequented the label's offices. Incredibly, however, Thiele remembers the famously hard-nosed Morris Levy, who ran the label and was eventually convicted of extortion, as ``one of the kindest, most warm-hearted, and classiest music men I have ever known.'' At ABC/Impulse!, Thiele oversaw the classic recordings of John Coltrane, although he is the first to admit that Coltrane essentially produced his own sessions. Like many producers of the day, Thiele participated in the ownership of publishing rights to some of the songs he recorded; he makes no apology for this practice, which he calls ``entirely appropriate and without any ethical conflicts.'' A pleasant, if not exactly riveting, memoir that will be of most interest to those with a thirst for cocktail-hour stories of the record biz. (25 halftones, not seen)

Pub Date: May 1, 1995

ISBN: 0-19-508629-4

Page Count: 224

Publisher: Oxford Univ.

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 1, 1995

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

A LITTLE HISTORY OF POETRY

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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