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MADE IN AMERICA

Name: MADE IN AMERICA
Author: Bill Bryson
ISBN: 0380713810

AN INFORMAL HISTORY OF THE ENGLISH LANGUAGE IN THE UNITED STATES

by Bill Bryson ‧ RELEASE DATE: March 1, 1995

If, as the old saw has it, England and America are two countries divided by a common language, here's some disarming help...

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Ex-patriate journalist Bryson (Neither Here Nor There, 1992, etc.) skims the history and present condition of American English.

The text is an entertaining compendium of possible and less possible word origins. Does "okay'' come from Martin Van Buren's nickname, Old Kinderhook? Or from the fact that Andrew Jackson was reported to write "oll korrect''? Or is it from the Greek ollakalla (all good)? Bryson offers a cogent discussion of sexism in the language, and there's a lot of orthography, etymology, and toponymy. But this isn't just a book about language. It's also a bestiary of American pop culture, many of whose stereotypes Bryson debunks (a back-formation from Buncombe County, N.C., of course): Ellis Island, in its original splendor, wasn't half bad; the Puritans enjoyed a good time just like the rest of us; and Ray Kroc hadn't the inventiveness of the Brothers MacDonald, after all. Bryson tells us a lot we surely never thought about. There's the cost of sending a letter by Postal Express and the reason for the bump on the fuselage of the Boeing 747. "Debugging'' of computers began, we are told, on the day 50 years ago when a moth entered a Navy computer. There are, however, some facts that aren't facts. Bryson places the Polish-born British writer Joseph Conrad among the group of Americans whose names were changed from awkward foreignness. And, surprisingly for a lexicographer, he indulges in the popular confusion of the 18th-century "long s'' and the modern "f.'' This offering won't replace the popular works by Flexner, much less the majestic Mencken, but the style is engaging and the narrative diverting. An index is appended, but there is no useful list of words and phrases.

If, as the old saw has it, England and America are two countries divided by a common language, here's some disarming help sent by a Yank from the other side of the pond.

Pub Date: March 1, 1995

ISBN: 0380713810

Page Count: 320

Publisher: Morrow/HarperCollins

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Jan. 1, 1995

Categories:

GENERAL NONFICTION

- BOOK REVIEW
THE BODY
by Bill Bryson

- BOOK REVIEW
THE ROAD TO LITTLE DRIBBLING
by Bill Bryson

- BOOK REVIEW
ONE SUMMER
by Bill Bryson

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A LITTLE HISTORY OF POETRY

by John Carey ‧ RELEASE DATE: April 21, 2020

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

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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

Categories:

GENERAL NONFICTION

- BOOK REVIEW
A REVOLUTION IN THREE ACTS
by David Hajdu ; illustrated by John Carey

- BOOK REVIEW
WILLIAM GOLDING
by John Carey

- BOOK REVIEW
THE INTELLECTUALS AND THE MASSES
by John Carey

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SLEEPERS

by Lorenzo Carcaterra ‧ RELEASE DATE: July 10, 1995

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An extraordinary true tale of torment, retribution, and loyalty that's irresistibly readable in spite of its intrusively melodramatic prose. Starting out with calculated, movie-ready anecdotes about his boyhood gang, Carcaterra's memoir takes a hairpin turn into horror and then changes tack once more to relate grippingly what must be one of the most outrageous confidence schemes ever perpetrated. Growing up in New York's Hell's Kitchen in the 1960s, former New York Daily News reporter Carcaterra (A Safe Place, 1993) had three close friends with whom he played stickball, bedeviled nuns, and ran errands for the neighborhood Mob boss. All this is recalled through a dripping mist of nostalgia; the streetcorner banter is as stilted and coy as a late Bowery Boys film. But a third of the way in, the story suddenly takes off: In 1967 the four friends seriously injured a man when they more or less unintentionally rolled a hot-dog cart down the steps of a subway entrance. The boys, aged 11 to 14, were packed off to an upstate New York reformatory so brutal it makes Sing Sing sound like Sunnybrook Farm. The guards continually raped and beat them, at one point tossing all of them into solitary confinement, where rats gnawed at their wounds and the menu consisted of oatmeal soaked in urine. Two of Carcaterra's friends were dehumanized by their year upstate, eventually becoming prominent gangsters. In 1980, they happened upon the former guard who had been their principal torturer and shot him dead. The book's stunning denouement concerns the successful plot devised by the author and his third friend, now a Manhattan assistant DA, to free the two killers and to exact revenge against the remaining ex-guards who had scarred their lives so irrevocably. Carcaterra has run a moral and emotional gauntlet, and the resulting book, despite its flaws, is disturbing and hard to forget. (Film rights to Propaganda; author tour)