Originally published in France in 1934, this complements previously translated collections of essays by the leading theorist of Surrealism (The Lost Steps and Free Rein, 1996), this time focusing on works written during the period of Surrealist maturation (1924—33). Ranging significantly in content and style, this compendium does justice to Breton’s complex character, just as it pinpoints some innate contradictions within Surrealism. Despite that movement’s “will towards complete disorientation from everything,” Breton demonstrates an acute awareness of reality around him, addressing politics, ideology, art, criminal trials, psychiatry, and mesmerism. Many of his pronouncements betray an intimate knowledge of Marx, Engels, and Lenin, whom he holds in high esteem. “Surrealism’s total commitment to dialectical materialism” and to “the admirable cause of the proletariat” prompts him to apply rigid ideological criteria to artists and writers. He dismisses out of hand such literary icons as Claudel, Cocteau, and France, all of whom he condemns as counterrevolutionaries due to their association with the French literary establishment. Meanwhile, Breton extols everything exhibiting even a grain of revolt against the existing order of things. In his effusive praise of Dal°, Eluard, and Russian Futurist poet Mayakovsky, the Surrealist credo remains in the forefront, with its subversion, voluntary hallucination, and “automatic writing.” Although Surrealist creative output failed to implement the goal of automatic, or subconscious, writing, Breton considers it the cornerstone of modern art, comparing it to mediumistic composition. It’s refreshing to hear Breton acknowledge his indebtedness to certain personalities from the past, particularly German Romantic Achim von Arnim and French Symbolist Rimbaud. The ultimate goal of art, according to Breton, is not to describe what can be observed by all, but to give flesh and blood to the unseen world accessible only to the artist’s perception. Breton’s flowery prose, permeated with bizarre imagery and disjointed fantasies and punctuated by frequent ellipsis, is made still more challenging to read in the present translation: what sounds highfalutin in French often degenerates into awkward, run-on English sentences.
Pub Date: Oct. 18, 1999
ISBN: 0-8032-1259-3
Page Count: 160
Publisher: Univ. of Nebraska
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 1999
BOOK REVIEW
BOOK REVIEW
That sense of joy infuses these gentle essays. “Old age sits in a chair,” writes Hall, “writing a little and diminishing.”...
The writing life at age 85.
In this collection of 14 autobiographical essays, former U.S. Poet Laureate Hall (Christmas at Eagle Pond, 2012, etc.) reflects on aging, death, the craft of writing and his beloved landscape of New Hampshire. Debilitated by health problems that have affected his balance and ability to walk, the author sees his life physically compromised, and “the days have narrowed as they must. I live on one floor eating frozen dinners.” He waits for the mail; a physical therapist visits twice a week; and an assistant patiently attends to typing, computer searches and money matters. “In the past I was often advised to live in the moment,” he recalls. “Now what else can I do? Days are the same, generic and speedy….” Happily, he is still able to write, although not poetry. “As I grew older,” he writes, “poetry abandoned me….For a male poet, imagination and tongue-sweetness require a blast of hormones.” Writing in longhand, Hall revels in revising, a process that can entail more than 80 drafts. “Because of multiple drafts I have been accused of self-discipline. Really I am self-indulgent, I cherish revising so much.” These essays circle back on a few memories: the illness and death of his wife, the poet Jane Kenyon, which sent him into the depths of grief; childhood recollections of his visits to his grandparents’ New Hampshire farm, where he helped his grandfather with haying; grateful portraits of the four women who tend to him: his physical therapist, assistant, housekeeper and companion; and giving up tenure “for forty joyous years of freelance writing.”
That sense of joy infuses these gentle essays. “Old age sits in a chair,” writes Hall, “writing a little and diminishing.” For the author, writing has been, and continues to be, his passionate revenge against diminishing.Pub Date: Dec. 2, 2014
ISBN: 978-0544287044
Page Count: 144
Publisher: Houghton Mifflin Harcourt
Review Posted Online: Sept. 15, 2014
Kirkus Reviews Issue: Oct. 1, 2014
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Erudite writing from an author struggling to find meaning through music.
An Ohio-based poet, columnist, and music critic takes the pulse of the nation while absorbing some of today’s most eclectic beats.
At first glance, discovering deep meaning in the performance of top-40 songstress Carly Rae Jepsen might seem like a tough assignment. However, Abdurraqib (The Crown Ain’t Worth Much, 2016) does more than just manage it; he dives in fully, uncovering aspects of love and adoration that are as illuminating and earnest as they are powerful and profound. If he can do that with Jepsen's pop, imagine what the likes of Bruce Springsteen, Prince, or Nina Simone might stir in him. But as iconic as those artists may be, the subjects found in these essays often serve to invoke deeper forays into the worlds surrounding the artists as much as the artists themselves. Although the author is interested in the success and appeal of The Weeknd or Chance the Rapper, he is also equally—if not more—intrigued with the sociopolitical and existential issues that they each managed to evoke in present-day America. In witnessing Zoe Saldana’s 2016 portrayal of Simone, for instance, Abdurraqib thinks back to his own childhood playing on the floor of his family home absorbing the powerful emotions caused by his mother’s 1964 recording of “Nina Simone in Concert”—and remembering the relentlessly stigmatized soul who, unlike Saldana, could not wash off her blackness at the end of the day. In listening to Springsteen, the author is reminded of the death of Michael Brown and how “the idea of hard, beautiful, romantic work is a dream sold a lot easier by someone who currently knows where their next meal is coming from.” In all of Abdurraqib’s poetic essays, there is the artist, the work, the nation, and himself. The author effortlessly navigates among these many points before ultimately arriving at conclusions that are sometimes hopeful, often sorrowful, and always visceral.
Erudite writing from an author struggling to find meaning through music.Pub Date: Nov. 14, 2017
ISBN: 978-1-937512-65-1
Page Count: 288
Publisher: Two Dollar Radio
Review Posted Online: Oct. 1, 2017
Kirkus Reviews Issue: Oct. 15, 2017
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