Once again, Ireland’s preeminent poet balances colloquialism and lyricism with deceptive ease.

THE MIDNIGHT VERDICT

Heaney’s previous efforts have included “works of lyrical beauty and ethical depth, which exalt everyday miracles and the living past,” for which he won the Nobel Prize in Literature in 1995. Here he effects an impressive translation of a pair of works in an unstrained style that belies the difficulty of his achievement in maintaining, for the most part, the rhyming couplets of the classical Latin and romantic Gaelic originals. This slim collection includes an abridged version of 18th-century Irish poet Merriman’s Cúirt an Mheán Oiche (The Midnight Court) sandwiched between Books X and XI of Ovid’s Metamorphoses (which relate the tales of Orpheus’s loss of Eurydice and his later slaying by a berserk band of maenads). There’s a clear continuity of theme connecting these disparate poems: they both describe mortals pleading before an otherworldly tribunal, and they both feature a male hero who is savaged by a horde of irate females for preferring the company of men. In Merriman’s self-deprecating, amusing, and often bawdy poem, the hero (“your average, passable male”) is abducted in sleep and taken before a court of women who accuse him (and all Ireland’s “recalcitrant, male-bonded men” of that “spunkless generation”) of leaving their women “unused, unsoothed, disconsolate.” Only waking spares him the judgment of torture the court decrees. In the case of Ovid’s hero, however, Orpheus is cruelly flayed and dismembered by a band of “crazed Ciconian women” who see his turning to boys for pleasure after the death of Eurydice and his failure to win her release from Hades as evidence of his misogyny.

Once again, Ireland’s preeminent poet balances colloquialism and lyricism with deceptive ease.

Pub Date: April 9, 2001

ISBN: 1-85235-282-5

Page Count: 70

Publisher: N/A

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: April 1, 2001

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The phrase “tour de force” could have been invented for this audacious novel.

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A LITTLE LIFE

Four men who meet as college roommates move to New York and spend the next three decades gaining renown in their professions—as an architect, painter, actor and lawyer—and struggling with demons in their intertwined personal lives.

Yanagihara (The People in the Trees, 2013) takes the still-bold leap of writing about characters who don’t share her background; in addition to being male, JB is African-American, Malcolm has a black father and white mother, Willem is white, and “Jude’s race was undetermined”—deserted at birth, he was raised in a monastery and had an unspeakably traumatic childhood that’s revealed slowly over the course of the book. Two of them are gay, one straight and one bisexual. There isn’t a single significant female character, and for a long novel, there isn’t much plot. There aren’t even many markers of what’s happening in the outside world; Jude moves to a loft in SoHo as a young man, but we don’t see the neighborhood change from gritty artists’ enclave to glitzy tourist destination. What we get instead is an intensely interior look at the friends’ psyches and relationships, and it’s utterly enthralling. The four men think about work and creativity and success and failure; they cook for each other, compete with each other and jostle for each other’s affection. JB bases his entire artistic career on painting portraits of his friends, while Malcolm takes care of them by designing their apartments and houses. When Jude, as an adult, is adopted by his favorite Harvard law professor, his friends join him for Thanksgiving in Cambridge every year. And when Willem becomes a movie star, they all bask in his glow. Eventually, the tone darkens and the story narrows to focus on Jude as the pain of his past cuts deep into his carefully constructed life.  

The phrase “tour de force” could have been invented for this audacious novel.

Pub Date: March 10, 2015

ISBN: 978-0-385-53925-8

Page Count: 720

Publisher: Doubleday

Review Posted Online: Dec. 22, 2014

Kirkus Reviews Issue: Jan. 1, 2015

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A strict report, worthy of sympathy.

THE CATCHER IN THE RYE

A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.

"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….

A strict report, worthy of sympathy.

Pub Date: June 15, 1951

ISBN: 0316769177

Page Count: -

Publisher: Little, Brown

Review Posted Online: Nov. 2, 2011

Kirkus Reviews Issue: June 15, 1951

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