by Anna Politkovskaya translated by Arch Tait ‧ RELEASE DATE: April 5, 2011
“It is generally accepted that we Russians do not like ourselves much.” So wrote the late Politkovskaya (1958–2006) (Putin’s Russia, 2006, etc.), who paid with her life for her daring critiques of post-Soviet society.
This spirited collection, originally published by the journal Novaya Gazeta in 2007, opens with a self-interview taken from the journalist’s laptop after her death. In it, she accuses most of her journalistic colleagues in Russia with being koverny, or clowns, “whose job it is to keep the public entertained and, if they do have to write about anything serious, then merely to tell everyone how wonderful the Pyramid of Power is in all its manifestations.” The big-shoe phenomenon spreads far beyond Russia, of course, and Politkovskaya is not alone when she asks what the fate of those who refuse to play in the Big Top is—“They become pariahs,” she answers, though in her case it was worse still. Much of the collection concerns Russia’s war in Chechnya, which has quieted down since, but, only a few years ago, was raging—no thanks to orchestrated atrocities on the part of the Russian Army that Politkovskaya covered and uncovered. One was the so-called Shatoy Tragedy, in which Russian soldiers under the command of the Central Intelligence Directorate killed six Chechen civilians and burned their bodies. Politkovskaya’s reportage is far from objective, in the vaunted Anglo-American sense. Her ledes build around terms such as “massive violation of human rights” and “the racketeering that pervades the Republic,” recounting the misdeeds of plutocrats and bureaucrats, and otherwise offering news and commentary from what she called “the furthest end of the Old World.” Even the less pointed touches—travel notes from Europe and Australia, a brief memoir of living with an elderly dog—are sharp in their none-too-veiled view of a society that should be better than it is. An essential book for budding Russia hands, followers of world events and fans of good journalism.
Pub Date: April 5, 2011
ISBN: 978-1-935554-40-0
Page Count: 480
Publisher: Melville House
Review Posted Online: April 4, 2011
Kirkus Reviews Issue: March 15, 2011
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by Anna Politkovskaya & translated by Arch Tait
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by Anna Politkovskaya & translated by Arch Tait
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 John Carey ‧ RELEASE DATE: April 21, 2020
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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More by David Hajdu
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by David Hajdu ; illustrated by John Carey
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