by Andrew Motion ‧ RELEASE DATE: July 1, 1993
One of three literary executors of British poet Philip Larkin (1922-85), fellow poet Motion (The Lamberts, 1987) ill serves his subject with this drab, exhaustive biography full of bland literary criticism and inappropriate psychologizing. With complete access to Larkin's unpublished archival material—from which he quotes liberally—Motion establishes that Larkin's father was a Nazi sympathizer, as well as a misogynist and an autocratic parent, and that the poet's ``whining'' mother exerted an equally debilitating influence on her sensitive son. Tall and gawky, young Philip stammered and made few friends: This overwhelming sense of isolation stayed with him even through his years of critical acclaim. A voracious reader, he idolized Auden, Lawrence, and Yeats, despite his later antimodernist stance. At Oxford, Larkin formed his legendary friendship with Kingsley Amis, whose fame he would continually envy even as they shared a love of jazz and drinking, as well as a hatred of pretension. Larkin experienced difficulty with girls, not losing his virginity until well into his first job as a librarian (``handing out tripey novels to morons''). While developing his career—he created a major library at Hull—he also gained stature as a writer. Hoping to equal the achievements of Amis and their friend, Bruce Montgomery, he devoted his early efforts to fiction, producing two novels, Jill and A Girl in Winter, which was a modest success. But Larkin's real greatness was as a poet. Some juvenilia inspired largely by Yeats was eclipsed by his mature work—poetry in the plain-speaking tradition of Hardy, Housman, and Edward Thomas. The obsessions of his verse—sadness, death, failure—flow directly from his troubled life (fearing marriage and family, he managed to maintain three long relationships with dramatically different types of women), though he himself always discouraged such readings. Sure to be the standard life for some time, this cadaverous book seems dead to Larkin's amazing sense of humor, one of the sources of his poetic achievement. (Photos)
Pub Date: July 1, 1993
ISBN: 0-374-23168-0
Page Count: 416
Publisher: Farrar, Straus and Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 15, 1993
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by William Strunk & E.B. White ‧ RELEASE DATE: May 15, 1972
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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by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996
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
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