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NEGATIVE BLUE

Name: NEGATIVE BLUE
Author: Charles Wright
ISBN: 0-374-22020-4

SELECTED LATER POEMS

by Charles Wright ‧ RELEASE DATE: May 1, 2000

With themes like emptiness, silence, and stasis repeated in triplicate, it grows three times harder to care.

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This volume contains the three collections in the last of Wright’s three trilogies (of three collections each), plus (if your eyes have not yet glazed over) some additional material referred to in the subtitle as “Selected Later Poems,” which the publisher felt it necessary to bring to our attention lest our joy thrice three be incomplete. He needn’t have bothered himself—or us. An ennead is more than enough. The poet himself, with typical grace, declares early on in the first of the third of these three tripartite trilogies that “Unlike a disease, whatever I’ve learned isn’t communicable.” Since Wright teaches at the University of Virginia in Charlottesville, it will be hoped he was just kidding. Later on he says, “The poem is a code with no message,” a principle he has clearly mastered. Wright balances all this negative attitude with some way-cool faux-Zen detachment, writing verse in the manner, he claims, of Li Ho and Tu Fu and Lao Tzu and Wang Wei and Li Po. But only rarely does Wright write like someone who is not a depressed cynic. He is proclaimed an Appalachian poet, yet apart from mentioning a couple of shrubs that won’t grow in the North, Wright gives us only endlessly abstract “landscapes,” a term he tosses into his poems with a frequency most writers reserve for the indefinite article. He is also depressing. Nothing is beautiful. Even a sunset is seen, with incredible triple alliteration, as “life’s loss-logo.” The verse is dry, dull, and, in true academic fashion, almost wholly detached from its subject matter (i.e., anything real).

With themes like emptiness, silence, and stasis repeated in triplicate, it grows three times harder to care.

Pub Date: May 1, 2000

ISBN: 0-374-22020-4

Page Count: 224

Publisher: Farrar, Straus and Giroux

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: June 15, 2000

Categories:

GENERAL FICTION

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SUMMER ISLAND

by Kristin Hannah ‧ RELEASE DATE: March 1, 2001

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with...

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Talk-show queen takes tumble as millions jeer.

Nora Bridges is a wildly popular radio spokesperson for family-first virtues, but her loyal listeners don't know that she walked out on her husband and teenaged daughters years ago and didn't look back. Now that a former lover has sold racy pix of naked Nora and horny himself to a national tabloid, her estranged daughter Ruby, an unsuccessful stand-up comic in Los Angeles, has been approached to pen a tell-all. Greedy for the fat fee she's been promised, Ruby agrees and heads for the San Juan Islands, eager to get reacquainted with the mom she plans to betray. Once in the family homestead, nasty Ruby alternately sulks and glares at her mother, who is temporarily wheelchair-bound as a result of a post-scandal car crash. Uncaring, Ruby begins writing her side of the story when she's not strolling on the beach with former sweetheart Dean Sloan, the son of wealthy socialites who basically ignored him and his gay brother Eric. Eric, now dying of cancer and also in a wheelchair, has returned to the island. This dismal threesome catch up on old times, recalling their childhood idylls on the island. After Ruby's perfect big sister Caroline shows up, there's another round of heartfelt talk. Nora gradually reveals the truth about her unloving husband and her late father's alcoholism, which led her to seek the approval of others at the cost of her own peace of mind. And so on. Ruby is aghast to discover that she doesn't know everything after all, but Dean offers her subdued comfort. Happy endings await almost everyone—except for readers of this nobly preachy snifflefest.

The best-selling author of tearjerkers like Angel Falls (2000) serves up yet another mountain of mush, topped off with syrupy platitudes about life and love.

Pub Date: March 1, 2001

ISBN: 0-609-60737-5

Page Count: 336

Publisher: Crown

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Jan. 15, 2001

Categories:

GENERAL FICTION

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by Kristin Hannah

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by Kristin Hannah

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LAST ORDERS

by Graham Swift ‧ RELEASE DATE: April 5, 1996

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Britisher Swift's sixth novel (Ever After, 1992 etc.) and fourth to appear here is a slow-to-start but then captivating tale of English working-class families in the four decades following WW II. When Jack Dodds dies suddenly of cancer after years of running a butcher shop in London, he leaves a strange request—namely, that his ashes be scattered off Margate pier into the sea. And who could better be suited to fulfill this wish than his three oldest drinking buddies—insurance man Ray, vegetable seller Lenny, and undertaker Vic, all of whom, like Jack himself, fought also as soldiers or sailors in the long-ago world war. Swift's narrative start, with its potential for the melodramatic, is developed instead with an economy, heart, and eye that release (through the characters' own voices, one after another) the story's humanity and depth instead of its schmaltz. The jokes may be weak and self- conscious when the three old friends meet at their local pub in the company of the urn holding Jack's ashes; but once the group gets on the road, in an expensive car driven by Jack's adoptive son, Vince, the story starts gradually to move forward, cohere, and deepen. The reader learns in time why it is that no wife comes along, why three marriages out of three broke apart, and why Vince always hated his stepfather Jack and still does—or so he thinks. There will be stories of innocent youth, suffering wives, early loves, lost daughters, secret affairs, and old antagonisms—including a fistfight over the dead on an English hilltop, and a strewing of Jack's ashes into roiling seawaves that will draw up feelings perhaps unexpectedly strong. Without affectation, Swift listens closely to the lives that are his subject and creates a songbook of voices part lyric, part epic, part working-class social realism—with, in all, the ring to it of the honest, human, and true.