A freeform category, then, marked by a rather shapeless but still quite readable, collection. Good stuff, if you like that...
Is an outlaw writer one who threatens to fill Marshall McLuhan with pencil lead?
The editors of this overstuffed anthology never quite get around to defining just what “outlaw literature” is and what makes it illicit, dangerous, or otherwise suspect, except to hint that it stands in some sort of opposition to the world of “reality shows, Botox, or IPOs,” to say nothing of a “culture coming of age in the grip of Google and Wal-mart.” Resounding sentiments, those, and the editors, famed counterculturists in their own right, presumably know outlaw literature when they see it. Still, you might wonder: What do Richard Brautigan and Mickey Spillane, who took home hefty advances and even heftier royalty checks, really have in common with, say, Boxcar Bertha and Sonny Barger? Would Emma Goldman have much to say to Valerie Solanas, Ray Bradbury to DMX? Only a deconstructionist, perhaps, could say with any authority. For our purposes, being an outlaw writer appears mostly to mean using lots of naughty words (Barry Gifford: “Willie Wild Wong, you dumb motherfucker!”; Jim Carroll: “‘I am the proletariat, you dumb bastard,’ he said, ‘and I think those motherfuckers are off their rockers”) and doing lots of naughty and unhealthful things (Norman Mailer: “I threw up a little while ago and my breath is foul”; William Burroughs: “Junk sickness, suspended by codeine and hop, numbed by weeks of constant drinking, came back on me full force”). Still, there are lots of good and memorable things here, among them Paul Krassner’s memoir of dropping acid with Groucho Marx; Dee Dee Ramone’s heartfelt plea, “Please don’t kill me now, God. I would love to be the last Ramone to die” (no such luck, sorry); and Malcolm X’s spot-on prediction that after his death “the white man, in his press, is going to identify me with ‘hate.’ ”
A freeform category, then, marked by a rather shapeless but still quite readable, collection. Good stuff, if you like that sort of thing.Pub Date: Feb. 1, 2005
ISBN: 1-56025-550-1
Page Count: 704
Publisher: N/A
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 1, 2004
From the national correspondent for PBS's MacNeil-Lehrer Newshour: a moving memoir of her youth in the Deep South and her role in desegregating the Univ. of Georgia. The eldest daughter of an army chaplain, Hunter-Gault was born in what she calls the ``first of many places that I would call `my place' ''—the small village of Due West, tucked away in a remote little corner of South Carolina. While her father served in Korea, Hunter-Gault and her mother moved first to Covington, Georgia, and then to Atlanta. In ``L.A.'' (lovely Atlanta), surrounded by her loving family and a close-knit black community, the author enjoyed a happy childhood participating in activities at church and at school, where her intellectual and leadership abilities soon were noticed by both faculty and peers. In high school, Hunter-Gault found herself studying the ``comic-strip character Brenda Starr as I might have studied a journalism textbook, had there been one.'' Determined to be a journalist, she applied to several colleges—all outside of Georgia, for ``to discourage the possibility that a black student would even think of applying to one of those white schools, the state provided money for black students'' to study out of state. Accepted at Michigan's Wayne State, the author was encouraged by local civil-rights leaders to apply, along with another classmate, to the Univ. of Georgia as well. Her application became a test of changing racial attitudes, as well as of the growing strength of the civil-rights movement in the South, and Gault became a national figure as she braved an onslaught of hostilities and harassment to become the first black woman to attend the university. A remarkably generous, fair-minded account of overcoming some of the biggest, and most intractable, obstacles ever deployed by southern racists. (Photographs—not seen.)
Pub Date: Nov. 1, 1992
ISBN: 0-374-17563-2
Page Count: 192
Publisher: Farrar, Straus and Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 1992
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. 8, 2020
Kirkus Reviews Issue: March 1, 2020
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