A quarter-century’s worth of trenchant thinking on Romantic culture from celebrated pianist/musicologist/critic Rosen (author of The Romantic Generation, 1995, and the National Book Award—winning The Classical Style). First published, for the most part, in the New York Review of Books, these pieces test contemporary scholarship’s vision of great Romantic artists from a variety of nations and fields. Rosen’s first essay considers how best to republish Romantic-era literature by carefully contrasting the quirks exhibited by recent editions of Wordsworth, Byron, and Balzac. Rosen also spotlights other Romantic media. Comparing the painter Caspar David Friedrich and the composer Robert Schumann, he explores the Romantic destruction of “not only the barriers between the arts, but the autonomy of art” from nature. In one piece, Rosen even postulates (somewhat wildly, to be sure) that Elizabeth David’s cookbooks, with their evocation of pastoral sentiments, represent “the last gasp of the Romantic momement.” Elsewhere, the critics join the cook as latter-day Romantics as Rosen thinks through—and past—literary scholars like M.H. Abrams and William Empson, the musicologist Heinrich Schenker, and George Bernard Shaw considered as music journalist. Those who find Rosen’s favor tend to be those who, like Empson, Shaw, and the German theorist Walter Benjamin, keep the flame of Romantic practice alive. (Rosen’s superb essay on the difficult but rewarding Benjamin remains quite sharp 20 years after its original publication.) But the unity which the common theme of Romanticism provides for Rosen’s collection makes one feel the absence of an introduction, or a new essay, that might bring to a point the arguments that run throughout, while considering Romanticism’s relation to the classical and the modern. Rosen certainly earns the authority to give such an overview. Especially remarkable, perhaps, is the tone of intellectual generosity that infuses Rosen’s essays—as much as his Romantic avatars, he has a sure touch in uniting thought and expression to expand the worlds of his audience’s experience.
Pub Date: Sept. 15, 1998
ISBN: 0-674-77951-7
Page Count: 288
Publisher: Harvard Univ.
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 1998
From the national correspondent for PBS's MacNeil-Lehrer Newshour: a moving memoir of her youth in the Deep South and her role in desegregating the Univ. of Georgia. The eldest daughter of an army chaplain, Hunter-Gault was born in what she calls the ``first of many places that I would call `my place' ''—the small village of Due West, tucked away in a remote little corner of South Carolina. While her father served in Korea, Hunter-Gault and her mother moved first to Covington, Georgia, and then to Atlanta. In ``L.A.'' (lovely Atlanta), surrounded by her loving family and a close-knit black community, the author enjoyed a happy childhood participating in activities at church and at school, where her intellectual and leadership abilities soon were noticed by both faculty and peers. In high school, Hunter-Gault found herself studying the ``comic-strip character Brenda Starr as I might have studied a journalism textbook, had there been one.'' Determined to be a journalist, she applied to several colleges—all outside of Georgia, for ``to discourage the possibility that a black student would even think of applying to one of those white schools, the state provided money for black students'' to study out of state. Accepted at Michigan's Wayne State, the author was encouraged by local civil-rights leaders to apply, along with another classmate, to the Univ. of Georgia as well. Her application became a test of changing racial attitudes, as well as of the growing strength of the civil-rights movement in the South, and Gault became a national figure as she braved an onslaught of hostilities and harassment to become the first black woman to attend the university. A remarkably generous, fair-minded account of overcoming some of the biggest, and most intractable, obstacles ever deployed by southern racists. (Photographs—not seen.)
Pub Date: Nov. 1, 1992
ISBN: 0-374-17563-2
Page Count: 192
Publisher: Farrar, Straus and Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 1992
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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